This lively, green city often lies near the back end of the public zeitgeist’s list of favorite American towns — Eugene is rarely discussed on a larger scale outside of University of Oregon relations. But though the town is generally absent from pop culture, the name “Eugene” (in reference to the city) occasionally lands a mention in the world of music.

Eugene’s presence in the music world is diverse. Sometimes, Eugene is mentioned to add to a musician’s reputation or notoriety, and other times, it’s used as a calming vehicle for nostalgia.

Here are a few of the best musical references to Eugene:

Take prolific underground rapper Sage Francis for example. The end of his song, “You Can’t Win” from his 2013 mixtape “Sick To D(EAT)H,” features a sample that repeats the phrase “I’ve been there!” over and over again. During these repetitions, Francis interjects with different places he’s presumably been to, and in-between “Red State School” and “Beverly Laurel,” Francis boasts about having visited Eugene. Sage Francis is from Rhode Island, which makes his reference to Eugene geographically perplexing.

G-Eazy, another Eugene name-dropper, is from the much more proximate Northern California. In “Sherry” off his 2011 mixtape, “The Endless Summer,” G-Eazy braggadociously raps about how “he’s got a buzz from New Orleans to Maui/From Eugene to Phoenix, the Bay to the Valley.”

Perhaps the most entertaining Eugene reference found in rap is made by Ab-Soul on Childish Gambino’s 2012 track “Unnecessary.” While Ab-Soul’s verse is nothing more than ordinary hip-hop braggery, in it he suggests that he enjoys “White with white girls in Eugene.” It’s not surprising that Ab-Soul occasionally does cocaine with groupies at his shows, but it’s funny imagining that a few young Eugene women could have had a night to remember with Ab Soul.

But no one references Eugene and Oregon more than Eugene-born recording artist Mat Kearney. Even on his latest album, “Just Kids,” he mentions Oregon on three tracks: “Heartbreak Dreamer,” “One Black Sheep” and “Coming Home (Oregon).” Those who don’t recognize that last title must have missed every UO-hosted event since 2015. Thanks to “Coming Home (Oregon),” Mat Kearney has become a local legend.

Sufjan Stevens’ 2015 album, “Carrie & Lowell,” also holds its fair share of Eugene memories. The album is about Stevens’ mother and stepfather who lived in Eugene and the summers Stevens spent here as a child. On the track “All of Me Wants All of You,” Spencer’s Butte makes an appearance. In his song aptly titled “Eugene,” Stevens wonders “What if I’d never seen hysterical light from Eugene?” and contemplates how at “Emerald Park, wonders never cease.”

Even legendary country performer Dolly Parton holds Eugene close to her heart. While on tour in 1972, Parton spent an unforgettable night here that ended with the writing of a loving ode dedicated to the city. “Eugene, Oregon” is likely the most loving musical gift Eugene has ever been granted.

Eugene is also mentioned in regards to the anarchy following the Rodney King riots in the early 1990s. On Sublime’s track “April 29th, 1992,” lead singer Bradley Nowell mentions cities affected by these events, with Eugene among them.

Despite little recognition in mainstream media, Eugene is not completely overlooked. Eugene is beautiful and is even embedded deep within some of the most successful performers in American history — forever cemented in their words.

Follow Jordan on Twitter @montero_jor.

The post Beyond Mat Kearny: Musical references to Eugene show more than just Oregon pride appeared first on Emerald Media.

English musician King Krule’s last two records, “6 Feet Beneath The Moon” and “A New Place 2 Drown,” drew in listeners with his growing competence in immersive, versatile production and his enigmatic vocals. “The Ooz,” released last Friday, continues Krule’s progression towards becoming a world-class musician — and may have pushed him to that status.

The artist’s unwillingness to be genre-fied has been one of his most appealing traits since his primitive projects under the moniker “Zoo Kid” back in 2010. The way Krule applies an eclectic assortment of styles to his intrinsic jazz discipline causes genre-fying to consequently marginalize an entire facet of his sound.

In “The Ooz,” Krule dances around numerous styles without sticking to any particular approach for an overbearing amount of time. He incorporates shades of blues, hip-hop, punk, indie and others to great execution. Krule lets samples of musical styles percolate through the cracks and flow out into other compositions to create a cohesive atmosphere throughout the album.

The production is ultimately what holds the album together, despite its abstract, seemingly disparate nature. More distorted than his previous works, King Krule creates a world full of emotion (save for happiness) that subtly puts the listener into a saddened trance surrounded by their own shortcomings.

Each sound and texture used is artfully chosen to mesmerize the listener to the greatest degree — further cementing Krule as a top-tier producer. The album is constantly fluctuating within the tormented headspace of the artist; the only consistent theme in the production of the album is its controlled nuance.

Perhaps most consistent throughout Krule’s career are his cryptic lyrics presented in a deep, sensitive fashion. Whether he’s piecing together abstract imagery in ode to his hometown in “Biscuit Town,” or vividly describing his imagined, drugged-out self in “A Slide In (New Drugs),” listeners must resort to building meaning through the sounds, rather than the words.

But maintaining ambiguity and forcing the audience to project their own meaning is fine work as long as the accompaniment is compelling enough to keep the audience on the right path. This is something that Krule accomplishes without struggle. His deep, versatile vocal stylings only contribute to the potent effects of his lyricism.

“The Ooz,” most commonly sees its creator lamenting his own life as a general outcast; provoking all the depression and pain that the 23-year-old holds within. Krule comes off as strikingly genuine on the album.

As hectic, trying and unpredictable as the album is, it’s really all about the journey. The playthrough is bumpy in artistic ways, and in absolutely no situation is this album an easy listen. Krule expects his listeners to be able to keep up, and he rewards them justly so after a little over an hour.

The only real knock that can be handed to this record — which really isn’t much of a knock — is its length. The average song length is around 4:20, which is a touch too long. But the length speaks on the volume of sounds King Krule has up his sleeve. There’s no dip in quality throughout the duration. By the time the final track rolls around, it’s hard to accept that the album is concluding.

King Krule’s “The Ooz” is a dark, beautifully crafted perusing of Archy Marshall’s musical identity — a wounded entity provoking itself for the sake of display. The album will most likely be among the year’s finest and proves that King Krule is near the head of the curve in sonic craft and creativity.

Watch the video for “Czech One” below:

Follow Jordan on Twitter @montero_jor.

The post Review: King Krule immerses listeners with ‘The Ooz’ appeared first on Emerald Media.

The Brooklyn duo, Ratatat, has an 11-year career in which the group has expanded in sound, expanded in instruments and consequently nurtured a hip-hop, electronic aesthetic to a perfect bloom. The Emerald takes a look at Evan Mast and Mike Stroud’s near-palpable progression from a humble band to fervent artists.

Ratatat (2004)

With the simple pairing of two guitars and plenty of electronic engagement, Ratatat made waves in the instrumental scene with their 2004 self-titled debut. Although rooted in electronica, the seamless blending of various impressions makes the album sonically and emotionally unique.

The album is grounded by the entrancing compositions that Mast and Stroud bring to life — using a myriad of unique textures and accent-intensive drum beats to do so. Throughout the album, electric guitar slides and melancholic synth lines agree with musing percussion movements. “Ratatat” establishes the band’s musical spine.

Ratatat’s hip-hop and rock muscles are flexed in the opening “Seventeen Years.” Halfway through, after the record’s exposition, a soft sentimentality is the focus with “Bustelo.” The energy picks up near the ending with the guitar force, “Germany to Germany,” and concludes with the emotional movement “Cherry.”

As the music naturally rises and falls, one can’t help but feel emotionally affected by Ratatat’s dismal pallette. An underlying apathy lies beneath the band’s sound, but “Ratatat” is the seed; the primitive phases of driven music figuring itself out — in other words, it’ll grow.

Classics (2006)

“Classics” is a vehicle to show off all the new instruments in Mast and Stroud’s repertoire; a recurring theme in their development. “Classics” is filled to the brim with high-octane energy. Every moment on the album is either filled with vitality or anticipating it.

The compositions on “Classics” gravitate more towards the groovy. Ratatat, in this album, incorporates these sweeping guitar wahs just as much as the fast strikes heard in the bulk of the debut. The guitar drawl makes the songs more fluid, and add that touch of sadness that every Ratatat fan craves.

The opener, “Montanita,” flows like water. “Wildcat,” the single, is an electronic repartee of sorts; but leave out the comical wit and amp up the head-nodding. The album turns, then, to a breakneck tune in “Loud Pipes,” and winds down the party with “Nostrand,” a song that’s just as calm as it is crazed.

As Ratatat develops their sound, some aspects of their music need make way for others: In this album’s case, the duo doesn’t expose its underlying sadness as much and instead finds solace in riding grooves. Their style is solidifying, and in the meantime, everybody moves.

LP3 (2008)

“LP3” is forged from a different breed of electronica than Ratatat’s previous works. A work open to interpretation, “LP3” is best described through the striking red and yellow color palette on the album’s cover — not words.

The album, retaining “Classics’” energy, stresses power and, in some ways, is embedded in nature. The bird chirps, sounds of gushing waves and an overall natural aesthetic give the record an instinctive atmosphere. The guitar solos sometimes demand respect, and other times ask for sympathy but are always dominant.

“Falcon Jab” sets the album’s tone early. Its raw power is matched two tracks later by “Mirando” with its commanding guitar riffs. The eccentric “Shempi” is as much of a living entity as it is a song. And “Brulée” is a force of feeling that’s wistful yet content.

“LP3” lets the listener find a world within the album instead of imposing. Ratatat’s compositions become more dynamic, but are still very much in form. And through the grandiose compositions, Ratatat’s growing self-awareness is made apparent.

LP4 (2010)

“LP4” is the pinnacle of Ratatat’s growing sound. The album is eccentric, darker and more mature. The recordings for the album were made during the “LP3” sessions, but through the post-recording production, the sounds became drastically different.

“LP4” is a maximalist project — everything is blown up to be made a spectacle. Every song is coated with a sweet blend of harpsichord slings, a whirling string quartet, bouncy voice boxes and a parade of synths. The way it’s compiled is considerably more dynamic than their previous releases, though.

The tracks “Neckbrace” and “Mandy” are prime examples of this more dynamic, maximalist composition style. “Sunblocks” plays a softer role with perhaps the greatest guitar solo in their discography. And “Grape Juice City,” a quirky track, takes us back to the natural world crafted in “LP3.”

The blurry vision Ratatat had back in 2004 is crystal clear here. Their alternative guitar tracks are now fine art. Unfortunately, “LP4” was the last record the duo released for half a decade.

Magnifique (2015)

After a five-year hiatus, Ratatat came back for another album in 2015. Mast and Stroud’s sound is fixed into the duo’s core, so that didn’t change much. Compared to “LP4,” though, “Magnifique” is slicker, simplified and more relaxed.

“Cream on Chrome” is the nonchalant force of the record. “Drift” personifies “Magnifique’s” simplicity. “Supreme” and “Primetime” are like neon muscle relaxers that slow everything down.

“Magnifique” lacked the invisible life-force present in the rest of the team’s work, but by this time, most fans were just happy to receive new music. Now, the duo’s two guitars are crystallized in time.

The post Discography Dive: Brooklyn’s Ratatat expands in sound appeared first on Emerald Media.

Minneapolis’ P.O.S is currently riding the medium-sized wave formed by his latest release, “Chill, Dummy” —  a fast-paced and energetic hip-hop record. He just started the second leg of his tour in support of the album and will be making a stop at WOW Hall on Tuesday, Oct. 11.

“Chill, Dummy” is his first release exclusively on the label he co-founded Doomtree Records; since 2004. Since then, P.O.S released his records both through Doomtree Records and underground hip-hop label, Rhymesayers, but “Chill, Dummy” is strictly a Doomtree project. For P.O.S, the homecoming is a reason for joy.

“It was pretty awesome,” P.O.S told the Emerald in a phone interview. “The fact that I was able to complete my contract and have a really great time with [Rhymesayers] and then be able to go to my label which had, by that point, gotten themselves together, had some legs — it felt really cool.”

The record pulls influence from punk rock — a genre in which P.O.S. is already sufficiently involved in as he played in punk bands before ever jotting down any bars. The rapper seems most comfortable backed by distorted guitar riffs and dynamic drums, almost half of which he produces himself.

The lively production is paired with casual thematics. Instead of delving into the more serious topics of today, P.O.S spends more time talking about “gutting fuckers” and “fucking gutters.” Even the album’s title is a nod to this non-laborious feel.

“I was mostly just trying to think of something that would take the pressure off of me to have a really awesome record,” he said.

P.O.S produced nearly half of the tracks on his 2017 record “Chill, Dummy.”

His rhymes aren’t in any way mindless, though. His raps on the record are meticulous and smart. The verses are constructed in a way that highlights P.O.S’s ability to play with interesting cadences, rhyme schemes and assonances. P.O.S has always been known as a “smart” rapper, and this album is no exception.

His upcoming show may lack a fascinating light fixture or a creative set design, but it’ll make up for it with some high-quality hip-hop and a fun, energetic vibe.

“It’s not so much about the spectacle as it is about the songs and trying to make a vibe and make a zone people can feel comfortable and get loose for the night in,” P.O.S said.

Concertgoers can expect to hear most of the songs from “Chill, Dummy” as well as previous works. This will be P.O.S’s sixth time playing in Eugene, and he says that he simply expects to have a good time with the crowd and to make it the best Tuesday night as possible. 

WOW Hall is located at 291 W 8th Ave. and tickets for the concert can be found at www.ticketweb.com.  P.O.S has a new record with his crew ‘Shredders’ (comprised of him, Sims, Lazerbeak and Paper Tiger; all from Doomtree) coming out Nov. 3 with an available pre-order and a few songs already released.

Follow Jordan on Twitter @montero_jor.

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Kid Cudi’s discography is defined by his signature sing-rap approach, struggles with mental health and diverse musical styles and interests. But above all: he’s original — and because of this, Kid Cudi has become one of the most influential rap artists of the last 10 years. The Emerald decided to take a look at notable pieces of his work.

A Kid Named Cudi (2008)

Kid Cudi’s first put his diverse talent on display with his 2008 mixtape “A Kid Named Cudi.” The mixtape featured a wide array of samples and influences that the young rapper found a musically-blissful niche within.

Cudi’s seemingly instinctive ability to combine New York-style rapping with his now trademark, off-key singing and humming was ardently applied to each nuanced beat. Along with this, Cudi’s balance of lighter themes such as romance, his hometown, and, of course, weed, juxtaposed to great effect with more personal, heavier themes such as isolation and depression.

His blending of styles and forms caught the attention of many and it was clear from the first listen that he had plenty of creativity to offer.

Man On The Moon: The End Of Day (2009)

After “A Kid Named Cudi” impressed fans of all genres, Cudi signed to G.O.O.D. Music, and with Cudi’s notable contributions to Jay Z’s “The Blueprint 3” and Kanye West’s genre-swerving “808s & Heartbreak,” he prepped for the release of his debut album.

On the record, Cudi drew inspiration from the recent passing of his uncle and his own predisposition to depression. With the themes becoming heavier, the songs on the album are idiosyncratic; personified by the haunting plucks of “Solo Dolo,” the disco grooves of “Enter Galactic (Love Connection Part 1),” and the rough glitz of “Pursuit of Happiness.”

With the addition of live instruments, album narration performed by Common, and The Larry Gold Orchestra, “The End Of Day” transforms from a mere series of confessionals to a carefully-constructed, lustrous piece of art that heavily influenced a new generation of hip-hop.

Throughout his career, Cleveland-born rapper Kid Cudi has suffered from severe mental illness. (Dana Beveridge/Creative Commons)

Man On The Moon II: The Legend of Mr. Rager (2010)

At this point, Kid Cudi became a staple in the mainstream music landscape. The artist spilled over to different genres and lured many non-listeners to become interested in hip-hop. But if “The End of Day” was a bright, shimmery space, “The Legend of Mr. Rager” was a blacked-out room.

Kid Cudi’s usual themes grew darker and more sinister as his depression worsened. Cudi passingly mentions suicide in “Don’t Play This Song” and cocaine ragers in “Wild’n Cuz I’m Young.” This severely distressed, lonely artist lies just underneath a layer of unparalleled cool.

Although it’s magnitudes more dreary, the production on the album is stellar; sweeping arrangements resting atop classic rock influences and striking rap beats. Its breathtaking sounds provide the perfect platform for Cudi to hum his demons into fruition. But sadly, this album is the last piece of Cudi’s work produced by the team that handled his career thus far: Plain Pat and Emile.

Indicud (2013)

After a three-year hiatus, a marijuana tolerance break and a semi-successful alternative rock venture, Cudi re-emerged with “Indicud.” Up to this point, his line of work followed a saddening narrative: Cudi was overcome with depression.

On his third record, Cudi handled all the production himself, and as the form of his music took shape, his mind would defog. Instead of the harsh introspective themes of his previous works, Cudi seemed content with himself and channeled positive energy into his music.

The album’s production lacks the tasteful artistry and critical appeal of his previous works but made up for it with enthusiasm and second-phase experimentation. Indicud also foreshadowed his next artistic venture with tastes of rock sprinkled in the production.

From alternative rock to New York-style rap, Kid Cudi’s musical styles has varied throughout the years. (Peter Pham/Creative Commons)

Speedin’ Bullet 2 Heaven (2015)

“Speedin’ Bullet 2 Heaven” took Cudi’s rock interests and turned them up so much that the knob broke off. The album proved to be an excruciating challenge for many hip-hop fans to digest. On the album, Cudi ditched conventional rap drum kits and electronics for distorted guitar and bass that Cudi himself played; this made the record completely alternative rock.

With this change, Cudi’s presence on the record also transforms from an extraordinary hip-hop artist to an ordinary rocker. His vocal slurs, at times, drip with genuine anguish and authentic, tasteful grunge, and, at other times, seem as out of place as DMX singing along to “Take On Me.”

As respectable as Cudi’s unapologetic experimentation is, “Speedin’ Bullet 2 Heaven” is the most critically disappointing album in his body of work.

Passion, Pain & Demon Slayin’ (2016)

Kid Cudi made a much-welcomed return to rap with his 2016 album “Passion, Pain & Demon Slayin’.”While still handling most of the production, Cudi also enlisted help from Plain Pat, Dot Da Genius, Mike Will Made It and Pharrell.

The poppier production on the album is as refreshing as hearing Cudi back on his signature rapping and humming. His return to the genre was not only welcome but successful in filling the hip-hop niche that was vacant during his departure.

With “PP&DS” being his latest album, talks of Man On The Moon III is still up in the air. Kid Cudi hasn’t shared any information on any upcoming album, but he will be going on a national tour by the end of September, and he’s liable to sharing information on any coming music during his shows. So his story ends here, but Cudi has been seen recently in Japan with Kanye West — reportedly working on an album — so his story will undoubtedly be continued.

Listen to the Emerald’s introductory Kid Cudi playlist below:

The post Discography Dive: The good, the bad, the Kid Cudi appeared first on Emerald Media.

How does a master of anything come to be? Is it through innate, profound talent? Or are countless hours of dedicated practice more crucial in becoming an expert in a specific field?

20-year-old Dale Tovar, who’s set to receive his master’s degree in music theory on June 17, has already dedicated hundreds of hours to understanding both jazz guitar and music theory. He said that in addition to a balanced mixture of both natural talent and focused practice, the most important facet of enhancing your craft is possessing unbridled passion.

Tovar first realized his passion for music at the age of 11 when he overheard his younger brother, Justice, taking guitar lessons and trying to learn “Day Tripper” by The Beatles. Dale’s father, Anthony, remembers the experience vividly. “He was 11, and everything changed,” he said. “He decided that he had to learn this song. A few months later he was sure that this would be his life’s work.”

After picking up the guitar to learn the chords to the classic Beatles track, Dale couldn’t put the instrument down. Anthony said Dale’s obsession was born.

While Dale agreed that his practice regimen could be considered an obsession, he noted that he had the most fun practicing guitar. Tovar practiced for roughly four hours a day for two years after that, honing his craft and enjoying every challenge that came with it.

As Tovar’s talent grew, the small size of his hometown, La Grande, became increasingly limiting towards his growth as a musician. So, instead of completely relocating, Tovar enrolled in the freshman music major program at Eastern Oregon University at the age of 13. At the time, most of his classmates were preparing for the transition into high school.

“I started out going half time, eight or nine credits a term. As a kid we had to make sure that I was comfortable and succeeding in my classes.” Tovar shared with the Emerald while sitting under the canopy of the School of Music courtyard.

After two years of college-level classes, Tovar qualified for the National Student Exchange program and, at 15, spent a year at the University of Utah to further his studies.

“It’s just another thing, you know, when I was young and we didn’t have the opportunities in our town — just trying to seek out what I could do next,” Tovar said.

Tovar said his time at the University of Utah was a little intimidating, but his confidence never wavered. There wasn’t much that separated Tovar from his peers besides the age gap and his talent. He was first exposed to the immense universe of music theory; a concept that would soon become his focus.

“What really draws me to it is that I’ve just always enjoyed thinking about things. Not just like ‘how does it work?’ in an objective sense, but how we respond to music,” Tovar said.

Music theory quickly became Tovar’s pursuit and he showed the same dedication to understanding the subject as he did with playing the guitar a few years prior. He poured countless hours into hardcover texts, learning and absorbing everything he read.

“He’s an incredibly well-read theorist,” said Chelsea Oden, a good friend of Tovar’s and office mate at the School of Music. “His reading ethic is inspirational. I have yet to ask him about a sub-discipline of music theory for which he couldn’t recommend multiple articles or books.”

Tovar started a book club with his peers and they meet once a week to discuss a specific article relating to music theory. Tovar is confident regarding his literary retention. He often reads almost six hours per day and says he’s able to recall the majority of it years after reading.

The book club highlights another value Tovar embraces: collaboration. “One thing I’ve really liked about the department here is the very collaborative, non-judgmental way that we treat each other.” Not only does this sense of camaraderie boost everyone’s morale, but the process of sharing ideas with his classmates helps Tovar tremendously in his own research.

“I think a lot of the work I’ve done is a product of talking constantly to people about my ideas. When you go [at] it alone things are much harder,” Tovar said.

Dale Tovar smiles for the camera in the Music School Courtyard (AmandaShigeoka/Emerald).

His work has earned him several awards, including Outstanding Soloist for Jazz Guitar at The University of Idaho Lionel Hampton Jazz Festival; National Student Exchange Student of the Year for his time at the University of Utah; Outstanding Graduate Scholar in Music Theory from the School of Music and Dance at UO; and Best Student Paper from the Rocky Mountain Society for Music Theory for his work entitled “Berg’s Romantic Rhetoric.”

After he receives his master’s degree in music theory, he’ll stay at UO for another year to receive his master’s degree in jazz studies. Tovar has a plethora of opportunities that he can pursue at his will, but at the moment he plans to earn a doctorate degree in music theory. He is not in a hurry to decide his life path, though.

“I think more than anything, the reason I’ve done everything is because I’ve just did what I wanted to do,” Tovar said. It’s a burning passion for music that has led him to the place where he is today. Tovar’s dedication provides an example to those who feel they lack the natural talent of their contemporaries. Perhaps passion is all you need.

Follow Jordan on Twitter at @Montero_Jo.

The post From passion to excellence: Dale Tovar’s lifelong dedication to understanding music appeared first on Emerald Media.

Nearly three years after “This Is All Yours,” British indie-rock band Alt-J adds to its increasingly popular and nuanced discography with its third studio album, “Relaxer.” Its new record acts as an ambient force — subtly exploring varied sounds and tempos to find a balanced intersection between alternative and new-age rock. In eight songs and 38 minutes, Alt-J puts its listeners in a trance induced by slick guitar work by Joe Newman, eclectic songwriting and slow compositions.

Much like “This Is All Yours,” “Relaxer” has a sonic theme tying the songs together, but the tracklist plays out in a contradictory manner.  The opening song, “3WW,” which stands for “3 Worn Words” in reference to the phrase “I love you,” sets the tone for the rest of the record. Its patient nature allows for sprinkled guitar plucks, synthesizer chords, bass kicks and shakers to naturally develop into an intimate track.

“In Cold Blood” comes in with complete disregard for the road that “3WW” paved. The tempo is fast and focused, and the song concentrates on the harmonic blend of guitar strikes and keyboard punches, complete with a stimulating horn bridge. This disconnect between the neighboring songs continues throughout the album and makes it lack focus. Still, each song possesses its own astute crafting.

The compositions are wonderfully crafted by the band and producer Charlie Andrew. Songs span from the somber and folky “House of the Rising Sun,” to the face-punching, pent-up tension of “Hit Me Like That Snare.” The variations in production find common ground in the underlying somberness, though there is no consistent lyrical theme.

The graphics for the album cover are derived from the PlayStation game “LSD.”

The eclectic record does not unnecessarily stress over intense subject matters or pseudo-deep meanings, giving the album a charm not found on previous Alt-J releases. “Deadcrush” light-heartedly details two band members’s infatuation with deceased women. (Check out that sick synth line.)

“Adaline,” which adapts Hans Zimmer’s score for the “Thin Red Line,” features a Tasmanian devil lamenting his impossible love as he falls for a human woman he sees swimming across a pond. The contrast between serious, focused production and offbeat lyrics can be troubling, but in this case, it’s done well.

The album finds its true identity with the concluding track,“Pleader, a sample tray of great compositions and moods. Whether your taste is for the slower orchestral efforts or the crunchy, high-energy guitar, “Pleader” is harmonically sensational — it’s welcomingly disorienting with a sense of uplift. It’s perhaps the most complete song on the album.

“Relaxer” is an acceptable addition to the discography of an indie group that isn’t necessarily at the cutting edge of the genre, but is undoubtedly talented. With this effort, Alt-J re-establishes itself as a second-tier indie artist. Before becoming a great experimental act, a band must perfect its respective sound; “Relaxer” is Alt-J’s leap in that direction.

Check out the video for “In Cold Blood” below:

Follow Jordan on Twitter at @montero_jor.

The post Review: Alt-J takes an impressive leap in perfecting its sound with ‘Relaxer’ appeared first on Emerald Media.

Have you noticed recently that the sun isn’t going down until 9:30 p.m.? That, and the sudden, optimistic perspective you have on life can only mean one thing: it’s almost summer. Summer is a time of leisure for students; the distinct, happy vibe that blankets our community provides many opportunities to sit back, relax and enjoy life without the pressures of school for a few weeks.

Little comes close to capturing the bright essence of summer like listening to live music with your closest pals. Being in a crowd and hearing the sounds of drums, guitars and vocals being made live fits perfectly under the shining sun; but summer is also a time for adventures. As great as they are, Eugene venues rarely attract big-name headlining acts, so consider getting the group together, scraping up some gas money and hitting the road for any one of the great shows happening this summer. To get the ball rolling, here are a few shows that are worth a snack-and-joke-filled road trip. Don’t forget the sunscreen.

June 10: Future, Migos, A$AP Ferg and Zoey Dollaz at The White River Amphitheatre, Auburn, Washington

On June 10, Future’s “Nobody Safe” tour featuring Migos, A$AP Ferg, and Zoey Dollaz will stop by Auburn, Washington. The flashy lineup is sure to put on a show full of energy and crazy moments.

June 17: Tool at The Gorge Amphitheatre, George, Washington

Considering that critically-acclaimed rock band Tool stresses visual art as much as music, its June 17 show in George, Washington should be quite a metal/progressive/alternative rock experience. Metal isn’t necessarily the happiest of genres, so try not to crack a smile at this show.

June 21: Nick Cave & the Bad Seeds at the Arlene Schnitzer Concert Hall, Portland

Nick Cave & the Bad Seeds will bring more than 20 years of alternative rock experience to the Arlene Schnitzer in Portland on June 23. With its latest release, “Lovely Creatures,” being a greatest hits record, this show will likely feature the biggest hits from numerous albums.

June 25: Roger Waters at the Moda Center, Portland

Roger Waters, bassist for the legendary Pink Floyd, will be coming to both Seattle and Portland on June 24 and 25 respectively. His “Us + Them” tour will be a spectacle of huge screens and abstract designs, pushing you further into the trance usually induced by Pink Floyd’s classics — all of which will be played during the show.

June 28: Tycho at McMenamins Edgefield Amphitheatre, Troutdale, Oregon

The sweet blend of organic and electronic sounds of Tycho will also be in the area this summer. The tour for his new album, “Epoch,” will be hitting Troutdale on June 28 alongside Todd Terje & The Olsens and Jaga Jazzist. Tycho puts on a great show, and with his new album out, more of the same is to be expected.

July 1: Ween at The Les Schwab Amphitheater, Bend

The shifting sounds of Ween will be on full display on July 1 in Bend. As a band, its sound is eclectic, meaning that the show can go a variety of directions. But Ween recently released a live album which can give a bit of insight as to what can be expected from its patently strange live performance.

July 17: J. Cole at The KeyArena, Seattle, Washington

Fresh off the release of his latest album, “4 Your Eyez Only,” North Carolina, platinum rapper J. Cole will be in Seattle on July 17. This concert is one of the premier rap concerts of the summer, so definitely consider taking a trip for this show.

July 22: Erykah Badu at FYF Fest, Los Angeles

Although this is the longest drive on this list, traveling all the way down to Los Angeles would be worth it in this case. Soul queen Erykah Badu announced her “Badu Vs. Everything” tour earlier this year, on track with “Baduizm’s” 20-year anniversary. This show will actually be taking place at FYF Fest on July 22, but that ticket and 12-hour drive are worth it for Badu’s show alone.

July 23: Bruno Mars at the Moda Center, Portland

On July 23 and 24, world-renowned pop star Bruno Mars will be making stops in Portland and Tacoma respectively. Any show with this big of a name will offer just as much visually as it would musically, giving it the potential to be a great experience whether you listen to his music or not. Anderson .Paak is rumored to be touring with him, but so far, only Mars is confirmed. Taking into account that tickets are currently more than $800 on resale markets, the pop star better bring a performance to remember.

August 1: Green Day at the Moda Center, Portland

Green Day will play in Auburn, Washington on August 1, followed by a Portland performance the following day. This classic, early ‘00s punk band still has a solid following, which means it probably knows how to put on a great show. And listening to “American Idiot” among other hits should be a treat for anyone — whether ironic or not.

August 1: Kendrick Lamar, Travis Scott and D.R.A.M. at the Tacoma Dome, Tacoma, Washington

Also appearing on August 1, this time in Tacoma, Washington, in what probably makes up the must-see show of the summer, is Kendrick Lamar. Fresh off the highly successful “DAMN.,” Lamar is joined by Travis Scott and D.R.A.M. to deliver his new, visionary sounds. Considering that Lamar’s next album likely won’t be dropped for at least two years, this may be our only chance to see King Kendrick for a long while.

The post Music under the sun: Tours and shows this summer worth a road trip appeared first on Emerald Media.

Just as Mac DeMarco’s consistent, electronic-indie sound was growing stale, the outlandish artist evolved his music, pushing it, once again, to the forefront of his genre. In addition to his always welcome somber songwriting, “This Old Dog” is more acoustic, more electronically tasteful and more cohesive, making the record a true indie force in 2017.

The record’s main theme of DeMarco’s relationship with his estranged father is made apparent in the first track, “My Old Man.” Musically, the evolution of the artist’s sound makes itself known as the track includes a crisp electronic drum kit and an acoustic guitar lick as DeMarco’s singing platform — as opposed to the synth-like voices he was partial to a few years prior on “Salad Days” and “Another One.”

“This Old Dog” continues to utilize acoustic and graceful electronic themes, but he also welcomes the concept of aging as a point of emphasis. Here, DeMarco highlights the intricacies of lost loves while backed by a soothing synth dragging listeners into his melancholy dream world during the chorus. “Baby You’re Out,” despite its wistful aesthetic, is an optimistic point in the album as the bouncy guitar and playful drumbeat usher DeMarco through his quest for contentment.

“For The First Time” is DeMarco’s obligatory electronic movement. It’s the fine-tuned, charming compositions like these that have boosted DeMarco to the forefront of his genre. Due to its strong reliance on synthesizers and electronics, the track stands out from the rest of the album, but its peculiar appropriateness and soothing nature makes it a very welcome addition.

The album’s focus is drawn away from his relationship with his father and is placed on coping with a failed relationship during “One Another” and “Still Beating.” DeMarco rides this wave of acoustic bliss and selective use of electronics through the album’s touching, brief intermission, “Sister.”

In “Dreams From Yesterday,” a bossa nova style piece with an acoustic bounce and synth lead in the chorus, DeMarco contemplates his increasing age and the changes we all experience throughout our lives. This song is in light contrast with the following track “A Wolf Who Wears Sheeps Clothes,” a faster track warning against blind trust and obedience.

“One More Love Song,” another tale of a failed relationship, has the same grim charm we heard on his previous works but with a more refined edge. In the chorus, the song features striking chords on the keys — another evolution in his sound.

Cover art for “This Old Dog.”

“Moonlight On The River” finds a tense DeMarco struggling with the impending loss of his father. It features variants of what we’ve already heard in great acoustic and synth play. There is no greater display of the tension DeMarco feels than at the end of this track in which he lets it all go with distorted guitar echos. “Watching Him Fade Away,” is the saddening finale. With a simple, beautiful keyboard bounce to it, DeMarco shows us all the deep pain he feels in dealing with his dwindling relationship with his father where the song’s title rings hauntingly as the album concludes.

This project may not only be the most focused of his career, but due to his great attention to detail in furthering his sound and strengthening his compositions, it very well may be the strongest work he has released. It’s always great to see the concentrated evolution of an artist, and “This Old Dog” will likely be a necessary inclusion on listeners’ best-of-the-year lists.

Follow Jordan on Twitter: @montero_jor

The post Review: Mac DeMarco’s ‘This Old Dog’ delivers an anticipated evolution appeared first on Emerald Media.

Synth-wave and electronica veterans Com Truise and Clark continued their 2017 co-headlining tour at the simple yet effectively-decorated WOW Hall on Sunday night in an impressively cool fashion.

With no opener necessary, Clark’s dissonant, bass-heavy tracks set the tone for the show and energized the beginning crowd of about 80 people. While keeping his set focused on his newest release, “Death Peak,” Clark also performed a few songs from different points in his prolific catalog.

Clark (Flickr Creative Commons)

On both sides of the DJ table, Clark was accompanied by 6-foot-tall metal frames lined with LED lights that were synchronized to the beats and kicks of the music. The lighting techniques enhanced the lively, stimulating vibe of the event. Songs like the bouncy “Butterfly Prowler,” the striking, fast-paced “Unfurla” and the distorted synths of “Hoova” sparked mass head-bobbing and body-bouncing.

Clark’s industrialized techno-electronica rocked the venue for about 50 minutes, reaching its high point near the end of the set with a slick remix of Mariah Carey’s “Shake It Off” featuring crunchy synths, deep bass and tasteful lighting tricks. Clark then ended his streak of neckbreakers and used the slower sounds of his newest album’s closer, “Un U.K.,” to finish his set, giving a gesture of thanks — the only time Clark explicitly addressed the crowd.

After a 15-minute intermission, including a stage design change and an influx of around 30 more people, Com Truise took the stage. Considering the crowd’s palpable anticipation of his set, it was certain that his synthy grooves were the main attraction of the event. While the DJ table was still utilized, the metal frames were removed in favor of six 4-foot electric panels capable of greater visual expression: Cityscapes, fluorescent moons breaking surface waters and abstract shapes and colors were some designs that were paired with their own respective songs.

Com Truise commenced his set with “Norkuy,” off the “Cyanide Sisters EP,” immediately showing differences between him and his stage predecessor. Com Truise’s style was more accurately described as synth-wave, as opposed to electronica. Following “Norkuy,” Truise also included in his set some of his best-known tracks: “VHS Sex”, “Open”, “Subsonic” and “Diffraction,” some of which would receive cheers of gratitude from the crowd in the opening seconds of the songs.

When Truise reached for the mic, the set took a turn for the greater. After having his mic turned on, Seth Haley cracked a joke and thanked everyone for being there — he then announced to us that he was about to play a few songs from his upcoming album “Iteration”. The first song was a wavy, synth-driven tune featuring a charming voice-box effect. The second song was titled “Isostasy” and furthered expectations of “Iteration” as being the potent synth-wave sound that creates Com Truise fans.

Finally, he ended with the single, “Memory” which is energetic and catchy enough to be both the single and the set closer. After the final track concluded, he gave another thanks to the crowd and in response received a generous ovation.

The show seemed to be an equally enjoyable event for the Eugene community as it was for the performers. Clark, having released his album earlier this year, created public excitement with his gritty electronic sounds. Meanwhile, Com Truise’s album is currently set to be released on June 16 of this year; after his crowd-favoring performance, the anticipation for “Iteration” will likely continue to grow.

Check out our coverage of Kehlani, Ella Mai and Jahkoy at WOW Hall

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