Eugene Weekly

It takes the right combination of craziness and courage to walk away from the fame game at its peak. But in 2007, Jurassic 5 did exactly that. Feedback (2006) reached No. 6 in Billboard’s U.S. rap record sales, securing Jurassic 5’s status as pioneers of alternative hip hop. Seven years later, the same cats known for jazz sampling, scatting, multiple live MCs and even the occasional kazoo solo are once again ready to take you “back to the concrete streets,” as they rap in their 1999 self-titled LP. Continue reading →

The last bro standing from the ’90s jam band/groove-rock scene (Sublime, Dave Matthews, Blues Traveler et al.), Garrett Dutton, better known as G. Love of G. Love & Special Sauce, is way too chill to care much about superstardom. Instead, G. Love & Special Sauce continues to bring danceable, reggae- and hip-hop-inflected blues rock to the masses. G. Love’s latest, 2014’s Sugar, is more of the same.  Continue reading →

On record, San Francisco’s Geographer is somewhat blunted by an ambition to sound thoroughly “now,” to fit into whatever mold successful modern rock bands are expected to fit into in these wild and wooly days of making music.  Live, Geographer is as raw as twiddling knobs on computer equipment can be, but vocalist Michael Deni adds interest by switching between guitar and loops, while Nathan Blaz supplies keyboards and electric cello and drummer Brian Ostreicher provides a needed punch and danceable energy. Continue reading →

What would you do with a room full of 80 teenagers? Turn on the television? Order pizza? Lock the door and run for cover? At the Oregon Bach Festival, the standard approach to the younger set is treat them like musicians, and allow them to soar. OBF offers a number of kid-friendly events, but none is more moving than the renowned Stangeland Family Youth Choral Academy.  Continue reading →

When I was a boy, my father, a former music teacher, joked: “There’s nothing worth listening to beyond Bach. Bach wrote it all first.” But I was a child of pop music and, in the words of Morrissey, classical music said “nothing to me about my life.”  Continue reading →

When Matthew Halls steps to the podium to conduct the Oregon Bach Festival’s June 26 opening performance, it will mark the first time since its founding in 1970 that anyone other than founder Helmuth Rilling has directed the annual summer festival. That opening work, Monteverdi’s Vespers of 1610, commonly regarded as the first Baroque masterpiece, makes an appropriate accession because the 38-year-old British conductor’s assumption of the artistic director post signals a generational change. Continue reading →

Around the 35-second mark on “It Ain’t Easy,” track 14 on Sassparilla’s recently released impressive double album Pasajero/Hullabaloo, something begins to sound very similar to a song cemented on classic rock’s Mt. Rushmore.  Continue reading →

Though the final entry in the beloved Harry Potter series hit bookshelves seven years ago, and the last film arrived three years ago, The Boy Who Lived continues to live on thanks to the cheeky musical genre known as Wizard Rock, a musical phenomenon which I wrote about in 2007 for EW (“Raise Your Wands: Wizard rock arrives at the library”) just before the final Potter book was released. Wizard Rock combines Potter fans’ love of music and books, so listeners are treated to songs that are based on events from the series. Continue reading →

What were you doing at age 17? Well, 17-year-old Clementine Creevy of the L.A.-based band Cherry Glazerr is busy fostering an up-and-coming indie “it” girl reputation — but not before getting her homework done. The cherub-faced trio’s 2013 release Trick or Treat Dancefloor, out on Burger Records, recalls the early work of fellow female-fronted Southern California band Best Coast; think three chords soaked in reverb and rudimentary melodies alongside loose and stony percussion. Continue reading →