This was originally posted on New Year’s Eve, but we didn’t know that the switch to a new server would delete the original post, and, umm, muck up the back-end of LocalCut for a few days. Now that we’re finally up and running, we figured we’d still share all our year-end goodies with you—just a bit late. So here goes a huge pile-o-picks from Willamette Week’s music writers.

WW Music Editor Casey Jarman’s Top Local Albums of the Year
1. Old Growth - Under the Sun
2. Blind Pilot - Three Rounds and a Sound
3. Point Juncture, WA - Heart to Elk
4. Serge Severe - Orangutan Slang
5. Dragging an Ox Through Water - Tropics of Phenomenon
6. Shaky Hands - Lunglight
7. A Weather - Cove
8. Mic Crenshaw - Thinking Out Loud
9. Starfucker - Starfucker
10. Josh Martinez - And the World Famous Sex Buffet

Casey’s Honorable Mentions include joints from the Old Believers, Au, Nick Jaina, Caleb Klauder, Doubledutch, Michael Hurley and Santotzin.

WW Assistant Music Editor Michael Mannheimer’s Top Local Albums Of the Year

1. Au - Verbs
2. Nick Jaina - A Narrow Way
3. Point Juncture, WA - Heart to Elk
4. Dykeritz - Rearrangerologyistics
5. A Weather - Cove
6. The Shaky Hands - Lunglight
7. Blue Horns - s/t
8. Grouper - Dragging a Dead Deer Up a Hill
9. Bark Hide & Horn - National Road
10. Church - Gold EP

Michael’s “albums that almost/maybe/shoulda made my list”: The Rainy States, Old Growth, Please Step Out Of The Vehicle, Weinland, Mattress, Alphabet Stew

MORE OF OUR FAVORITE SHOWS FROM 2008

Battles at MFNW
Despite being possessed by excitement on the opening day of MFNW ‘08, Battles managed to sober me up. I fully expected the electro, static-rockers to short circuit, but it was sweat, not sparks, that poured from their pores. From raucous percussion to a menagerie of time signatures to a vocal effect that sounds like Alvin and Chipmunks, Battles are busy and collected. They had to towel off after their set, something not seen since the heydays of Prince or a Mars Volta show. Better still, they could lose you and be caught in the same song. It was like a high speed car chase, over careening cliffs, with everything at stake. They’ve established their own genre and its one that can only be digested live. To see Battles hand-construct every layer of their dense and distorted tracks is both relieving and wonderful. So many specialized tasks at hand. MARK STOCK

Autechre at Doug Fir Lounge, April 6, 2008.
The enveloping electro beats, the capacity crowd and the fact that all the lights in the Doug Fir were turned off combined to make this show a very womb-like experience. The engulfing throb of the UK duo’s fractured sound turned into a calming heartbeat, despite the underbelly of chaos each song carried with it. A few brave souls danced, but the rest of us stood stock still, floating in the sonic expanse and staring blankly at the two gigantic stage monitors that hid the men on stage. By the time I tried to leave, I felt heavy and sodden, despite the fact I had barely moved all night. Any show that can leave me with that much tactile memory will always stand out as the best of this or any year. ROBERT HAM

Polvo at MFNW
The best show of the year was either My Bloody Valentine or the Dead C, but since neither came to Portland I didn’t get to see them. I did, however, see Polvo, in Portland, which none of my smug peers who saw the aforementioned bands got to do, so there, take that you bastards: I saw Polvo! Polvo—no easy category available for description—were the first over-21 show I ever snuck into way back when, and all I thought then was, dear God I didn’t know you could get that drunk and play music that complicated. In the interim since the band broke up I’ve played its records for countless bewildered friends, doing destructo air-guitar moves and shouting “Who the fuck sounds like this today oh that’s right no one!” Fast forward to September and there it is again, sounding like no one, not even themselves, as the band blazes through a rewritten version of itscatalog where everything is more aggressive and approximately three minutes longer. When will they die for the last time in my dreams? Never! ERIK BADER

Rush (extended version)
“Be cool or be cast out”, sings Geddy Lee in the crushing chorus of “Subdivisions.” Rush may not be cool by most people’s standards, but they are infinitely cool by mine. Rush never broke up. The band never fleeced its fans with a reunion tour. It’s been the same three guys since 1975, and all three are completely on top of their game.* This was the third time I’ve caught Rush at Clark County. The amphitheater is open air, and has one of the best and loudest sound systems within driving distance of Portland. The band’s setlist is comprised of countless hits, many progressive deep album cuts, and a host of tracks from latest (mostly excellent) record Snakes & Arrows. It’s an incredible feeling to witness the smiles and universal positive energy of thousands of folks, all rocking out to the same polyrhythmic beat. Cowboys from southern Washington stood in front of their seats along with engineers from Intel, and kids, parents, and grandchildren. The only people “cast out” were the ones that didn’t decide to go. And you know, “if you choose not to decide, you still have made a choice.”
*(Name one other valid classic rock group that can boast a similar track record over the last 30-plus years. Right. You can’t. Over that time, the band has reached down to the underground and taken Primus, Voivod, and Melvins on support tours. Drummer Neil Peart travels from show to show on a motorcycle, escorted by hordes of Hell’s Angels. The latest Rush album debuted at #4. Since first taking my dad to see the 30th anniversary tour, I’ve now caught Rush four times. The third was this year at Irvine Meadows. Less than a month later, I had the option of seeing Iron Maiden, or catching Rush for the second time in a month. It was an easy choice to make.) NATHAN CARSON

MORE OF WHAT YOU’LL BE LISTENING TO IN 2009

Boy Eats Drum Machine
Jon Ragel stole my pen quite a few times this year and for good reason. The Portland chameleon is a one-man circus, freakishly talented at playing every instrument you thought you could play, at the same time. His ‘08 gem Booomboxxx should make tails wag for next year. After seeing him beat a drum while playing the saxophone and running the turntables, logic tells me he doesn’t sit still for long. Expect more great samples from records past and a further polished sound from the eight-armed maestro. He was better each time in 2008, disproving any ill-advised claims of novelty act or notions that his music is “good because it’s weird.” It’s good because it’s good—clever, dancey, soulful, engaging. My crystal ball estimates collaborations, larger venues and another EP in 2009. God save us if he figures out how to incorporate his feet. MARK STOCK

Images: A few of the variant covers to Boy Eats Drum Machine’s BooomBoxxx:

Noisy Stuff
Portland in 2009 sounds too good to be true, but that’s just ‘cuz it hasn’t happened yet. Me, I’m definitely interested in Gabe and Pete’s post Yellow Swans projects, whatever mighty flumes of elegant noise they may be. Weirdo out(in)siders like DJ Yo-Yo Dieting and Illyas Ahmed creeping ’round the corner with new sounds, new Smegma lineups/utterances, ANYTHING from Grouper or Little Claw. What else? More garbage tape-rock from Eat Skull is always welcome, as they’re pretty much the most inconsistently consistent thing we got going on around here, and I’m saying that’s a good thing. Keep an eye out for the revised Neutria lineup. They got this cat Sunny D on the microphone who’s got something to say to pretty much all of you. No money, no economy, no future, hey man no problem! It’s Portland. ERIK BADER

Othello, and a bunch of Portland hip-hop
We recently lost Ohmega Watts to Washington but to help soften the blow, Othello, another Lightheaded (the three-MC group Watts is in) pitch hitter, has moved back to Portland and is already being spotted on stages around town. His signature swagger—equal parts butter-smooth hip-hop lyricist and well seasoned, audience-engaging performer—announces solo material promise. He also dons sleek hipster-approved outfits. Illaj (Hi Rollerz Records) is taking more mainstream musical chances and his creative collaborations with local indie-rock groups like Talkdemonic promise much anticipated noise. EP releases from diction-digestible, socio/politico/globally-aware Luck-One Conscious (7th Science Tribe) and the indelible rock-infused/(early) LL Cool J./Run DMC/Mr. Rogers package of Da’rel Jr. (who will also be dropping a second EP under the alias “Delrico” and is produced by Othello) have me salivating at the mouth like a Pavlov canine. More 2009 notables for the speaker box: Animal Farm, Ragen Fykes and Living Proof. SARA MOSKOVITZ

Explode Into Colors
If 2008 was a breakout year for Starfucker, expect 2009 to do the same for Explode Into Colors, one of the most capable dance-pop bands in Portland. These ladies have it all: Infectious beats, a unique Sandanista-era Clash meets M.I.A. sound, good looks and tons of connections from their various other bands. If they can get a full-length debut out in 2009, the sky is the limit for the trio. CASEY JARMAN

Church and Nurses
I wrote a long thing about why I love these two bands and how you should, too, and then the powers that be (re: the Internet) decided to delete my words. So let’s make this quick: Church’s layered, analog-driven pop almost sounds like Grizzly Bear, the dudes are super nice, and its four song EP made Gold totally blew me away. If they can get a full-length (the band is recording straight to tape at the Rainy States’ house) out this year, look out. Nurses have toured the US opening for Born Ruffians and look poised for a big brekaout in ‘09. They didn’t play many shows in Portland last year, but damn were the select few magical. MICHAEL MANNHEIMER

BIGGEST DISAPPOINTMENTS FROM ‘08

No Eskimo and Sons Full-length!?
Despite rumblings to the contrary, Eskimo and Sons made a pretty convincing case for its permanent disbanding. Earlier this year the eight piece called it quits with a variety of high profile shows and the excellent—if gratuitously titled—2007 EP How Does it Feel to be Crushed by One With the Strength of a Million?. However, the group, arguably one of Portland’s finest, went the way of the dodo without a full-length album to its credit. At its peak this summer Eskimo and Sons was ready to channel its collective energy into a major regional, if not national, breakout album. Now, with its future in a shaky state at best, it’s disappointing to think that we may never be privy to the full breadth of Eskimo and Sons’ much-loved tunes. SHANE DANAHER

Image: Shame on yo crew, Eskimo and Sons:

Not Enough 21+ Shows
I’m just old enough to pretend I’m much older, which in turn arms me with the ability to nag about the little things. And though I would have hated the idea in my concert-going days of teenage youth, here I am, bitter and about to propose the following: More 21 & over shows. Some venues have clung to this tradition of sorts, but many of shied away, noting the throngs of music loving kids, hellbent on spending their parents money. Not only will we adults shell out at least enough for a PBR at the bar, we’re less likely to text message our significant others during shows, attempt to clap along in sixteenth beats, sit splayed out in the pit ten days before the show starts and bring a tambourine with us to play along with. I’m all for all ages, but also all for the occasional and more available deviation. MARK STOCK

Missing PDX Beats
Found on the sides of milk cartons at bodegas city-wide: the Lifesavas, Syndel (Siren’s Echo), Soul P., Boom Bap Project, Thorn City Improv and Old Dominion. If you spot any of these beloved and dearly missed-in-action hip-hop artists, please phone in immediately as to their whereabouts.

Dear national artists and their managers who book shows in our hip-hop hungry town (Q-Tip, this is your personal PSA): When you employ excitable graphic designers to Photoshop big name artists’ names on flyers, allowing us to gather in groups at Stumptown where we drink too much coffee and whisper excitedly with regards to your arrival and then, a week before the show, cancel due to poor pre-sale numbers. Please refrain from toying with our fragile emotions. We own all of your albums, spend our grocery money (okay, and rent) shopping on eBay for your vintage concert posters, t-shirts, stickers and life-size cardboard cutouts and trade our friends, neighbors and gas station attendants valuable Pokeman figurines for copies of rare, Japanese-pressed limited-run white-label 12-inch records of Reflection Eternal singles. Stop canceling shows. We’re lazy and buy tickets at the door. Thank you. With warm regards, Portland. SARA MOSKOVITZ

The End of The Road
2008 could have ended touring as we know it. Gas rose to over four dollars a gallon, and it rocked the entire industry. Many discussions were held about the future of touring. The working solution for most was to prepare for the end. When expenses go up, the entire burden is foisted on the artist. Clubs don’t pay bands better when times are tough. But now there’s a second chance. Gas prices are down, and artists are feeling hopeful once more. The whole country voted Obama and claims to be ready for change. So I am going to propose a change you might not be ready for. It’s time to do away with $5 shows, at least when touring artists are on the bill. $5 show prices were introduced in the 1950s. Since then, the inflation in every other aspect of touring life has gone up. If you love music, and you support the arts, and you go to shows, it is time to snap out of your stupor. A great live band should be worth more than a can of Pabst. The cheap seats at the Opera are $39. Many of you spend $35-40 per week on cigarettes. Most of you spend $40-45 per week on pot. Concert ticket value is a discussion that needs to be had. Put your money where your mouth is, and encourage everyone you know to reconsider what a great live show is worth. NATHAN CARSON

Leave Your Home, Benoît Pioulard!
It’s hard to hold a grudge against Benoît Pioulard mastermind Tom Meluch when he’s supplying my eardrums with such sincere, yet near indecipherable, lyrics that glide over richly textured sound collages created within the confines of his bedroom. The problem? Only his bedroom is getting the privilege of such performances since he doesn’t play out very often. If he were to reverse his stance and take up a residency—even for just for a single evening—in a local venue more than three times per annum (his 2008 tally) this coming year, not just my ears, but my eyes would know the pleasure of such a reclusive musician. NILINA MASON-CAMPBELL

All The Shows I Missed
I spend a lot of time regretting shows that I’ve missed in any given year. 2008 had plenty of contenders: a reunited Polvo, Mogwai, Danielson Famile, Vivian Girls, etc. But the biggest letdown for me was not being able to experience the Poddington Bear performance at the 2008 PDX Pop Now! festival. As has been already revealed, the man behind the bear is none other than Hush Records impresario Chad Crouch. But what was not known until the Sunday afternoon was how he would translate his short electronic tunes into a live setting. Instead, he did one better, inviting a number of friends and musical collaborators (Dave Depper and Adam Shearer, among them) onstage to perform karaoke style versions of pop hits. All the reviews I heard and read of it were glowing, a fact that makes the regret sting that much more. ROBERT HAM

Photo: Nick Jaina sings at Podington Bear’s PDX-Pop karaoke show. Photo by Greg Borenstein.

Thanks for reading, everyone? What records did you love, hate, and regret about 2008? Let us know!