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Rogue Sounds

For awhile now, the buzzword of choice in hip hop has been conscious. Ashland emcee Lxor heads in nearly the opposite direction, towards the occult. Topics on his new album, Moon Tow Drivers 1.0, released in late April,  include pentagrams, outer space, devils, secret computer viruses, fallen angels, conspiracies, and

This reporter is a repeat offender when it comes to dad jokes. One of them is that we journalists report on recent developments, because it’s called the “news.” If we wanted to write about stuff that’s been around forever, we’d call it the “olds.” No one ever laughs. But I

An occupational hazard of reviewing local albums is that there has to be a local album available for review. And for whatever reasons—weather, the launch of festival seasons, Trump-slumps—no full-length work was really jumping out of the woodwork demanding, “Write about me!” this week. Maybe lots were released, but no

Banjo-slinger Pete Seeger is frequently held up as the solid gold example of a musician that stands for something in their art with songs like, “Where Have All the Flowers Gone,” and “If I Had a Hammer.” However, exactly what the case of the missing flowers, and his economic study

Whether it’s a cultural move in sync with legalized pot, or a reaction against the tight regimentation of canned pop music, music has been trending psychedelic, with blurrier melodies, and heavier grooves That’s evident from the very get-go on Kno1 & DRVGLRD, the infuriatingly-spelled new EP from equally-irksomely-spelled local emcee

Volume isn’t for the ears. It’s for the bones and the chest cavity. It’s to feel music as a full-body experience vibrating your core from the inside out rather than suffering through the miserably lacking experience of only accessing it with your ears. And there is no finer high-volume experience

In July of last year, The Messenger wrote about an intriguing new demo from a young Grants Pass band, Laural Ave. “The Shaking Hands Demo is rough. Like the whole thing was recorded live without much in the way of microphones or mixing—especially on the drums,” we wrote. “But its

Holidays can be a bit like black holes, sucking up all the attention for weeks around them. It’s easy for new albums released into that madness to get lost in the noise. For marketing reasons I may never fully understand, Water in the Leaves, the new album from Ashland duo

People frequently think art critics are against them. Sometimes they even brandish their second grade maturity by shouting at them on the street (to pull a recent example from my life). But they’ve got it all backwards. Us curmudgeonly critics are absolutely on their side. We’re cultural patriots that want

Once upon a time bands got financing from labels to record physical albums that were then mailed to stores. It’s not exactly news that things don’t work that way so much anymore. But while the Grants Pass/North Bend based art-rock smorgasbord Rogue Rebellion’s new album, Corporate America, is an explicit