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Heaviness is a fickle descriptive when it comes to music. Is it gauged by the power riffs of a Black Sabbath or Led Zeppelin? The hyper-speed assault of a Slayer or Napalm Death? Maybe the slow, brutal chug of a Swans or Neurosis? Some even look to the dark undercurrent of early bluesmen like Blind Willie Johnson or Leadbelly (the name certainly checks out) as the true masters of heaviness. Continue reading
The music of Canadian indie-rock group Supermoon is built from elements so delicately stacked it seems a cool breeze might knock them over. You want to catch the sound in a butterfly net, put it in a glass jar and keep it safely tucked on a shelf. “It’s pretty poppy with a dark undertone,” says Supermoon multi-instrumentalist Adrienne LaBelle, describing the band’s new release Playland. The album is out this month on Mint Records. Continue reading
The battle for gender-inclusive spaces is in the white-hot spotlight recently, notably from backlash pertaining to the passage of transgender exclusionary bills such as North Carolina’s restriction on public restroom use in accordance with the sex assigned on a person’s birth certificate. The need for gender-inclusivity in spaces like public restrooms and locker rooms is obvious to many, though the importance of inclusive creative and social spaces, like festivals and concert venues, is often overlooked. Continue reading
Premiering this weekend at Oregon Contemporary Theatre, Vanya and Sonia and Masha and Spike, winner of the 2013 Tony Award for best play, represents a kind of second act for playwright Christopher Durang. “Durang is known for his outrageous comedy, and rightfully so,” OCT director Tara Wibrew says. “But I particularly appreciate that his characters are lovable. In many of Durang’s pieces, there isn’t a villain against a hero — just good people taking opposing routes in an attempt to make life better.” Continue reading
The Maude Kerns Art Center opens Photography at Oregon Commitment to Vision: 50th Anniversary Retrospective Exhibit 6 to 8 pm Friday, May 20. The late Bernard Freemesser, a longtime photography professor at the University of Oregon, started Photography at Oregon, a fine arts photography exhibit at the UO in 1966. The 50th anniversary show features the work of more than 80 artists including Ansel Adams, Brian Lanker, Barbara Morgan, Mary Ellen and Brett Weston. Continue reading
Comic book people do love their origin stories. The tale of the University of Oregon program in comic studies dates back some seven years, to the 2009 opening reception of the Jordan Schnitzer Museum of Art’s Faster Than a Speeding Bullet exhibition of superhero comic art. Then-UO President Richard Lariviere was on site to help launch the exhibition. “I don’t think he was terribly interested,” says Ben Saunders, UO professor of English and guest curator of the show. “I think he was doing due diligence.” Continue reading
Eugene Ballet Company presents a rare treat for Eugene audiences Saturday when Portland-based BodyVox returns to the Hult Center with Urban Meadow, a retrospective of work from its 18 dynamic seasons. “We wanted to make a show that was repertory,” says BodyVox co-artistic director Jamey Hampton, sitting in the airy lobby of the BodyVox studio and performance space in northwest Portland. Continue reading
Those of us who have been complaining that the stakes in superhero movies have gotten ridiculously high, that it’s always the end of the world, will be relieved that Captain America: Civil War brings things back down to Earth. There are no aliens, no artificial intelligences, no angry gods or malignant outside forces. The villains here are just men. Continue reading
Portland power-trio The Thermals are obsessed with death. “It’s a subject Hutch [Harris] and I think about a lot,” Thermals bassist Kathy Foster tells EW. Harris plays guitar, sings and is primary songwriter. “It’s always present,” she says of the specter of death. “Sometimes it can be scarier than other times. Sometimes I get obsessed with it, think about it a lot and have this doomed feeling: It’s inevitable.” Continue reading
Bay-area black-metal act Bosse-De-Nage makes music in a post-everything world. Read how the band’s sound is described in the media: post-hardcore, post-metal. It’s hard to know what any of that means. But listen to the band’s latest, 2015’s All Fours, and you can believe this might be music for a post-human world, or maybe a world where our industrial excesses finally overtake us — the sound of the last human hand reaching out from an oozing pool of toxic waste. Continue reading