More Of 2008’s Best Local Albums
November 18th, 2009
Clublist Spotlight • A Better ’Stache0 comments
November 18th, 2009
CD Reviews: MarchFourth Marching Band, Curious Hands0 comments
November 18th, 2009
Meth Teeth Sunday, Nov. 22 | Making the best of this bummer called life.0 comments
November 18th, 2009
Primer: Girls0 comments
November 18th, 2009
Sparkle And Fade | The rise and fall of Everclear and The Cherry Poppin’ Daddies.0 comments
November 11th, 2009
CD Review: The Dimes | The King Can Drink the Harbor Dry (Pet Marmoset Records)2 comments
November 11th, 2009
Finn Riggins, Friday, Nov. 13 | Finn Riggins ditched the big yellow bus, but it’s not about to ditch its home state of Idaho.0 comments
November 11th, 2009
Kelly Blair Bauman Monday, Nov. 16 | Kelly Blair Bauman sees Portland burning, and he’s got the midlife-crisis folk to soundtrack the destruction.0 comments
November 11th, 2009
Primer: Saul Williams0 comments
November 11th, 2009
Living The Dream | Portland’s Dirtnap Records just stumbled into its 10th year.2 comments
[December 31st, 2008]
Did you seriously expect us to pick just five of our favorite local albums from 2008? We could fill the whole paper!
Grouper, Dragging a Dead Deer Up a Hill (Type Records)
Grouper (a.k.a. Liz Harris) released my favorite Portland—or anywhere—record this year with the unstoppably crushing Dragging a Dead Deer Up a Hill. Call it dream pop, slowcore, outsider art—but do better than that and listen to it, because as Blue Sounds go, this one is a motherfucker. Music that sounds like it was made underwater should be common in a town where all it does is rain, but Grouper’s drenched ambience is more like an angel writhing in heavy syrup. ERIK BADER.
Horse Feathers, House of No Home (Kill Rock Stars)
It has only taken Justin Ringle and company two albums to achieve a level of musical and lyrical maturity that most indie bands strive for years after they’ve hit the big time. Each song plumbs the depths of failed relationships, distant fathers and other heartbreaks that define our personalities—all wrapped in a mesmerizing and aching combination of acoustic guitar, banjo and violin. ROBERT HAM.
White Fang, Pure Evil (Marriage Records)
Pure Evil isn’t built on musicianship or vocal prowess but on youthful exuberance and charming candor. It’s true the full extent of the rag-tag, underage Portland band’s uniqueness in the live arena—as equally dependent on its rabid audience—doesn’t fully translate to disc. But happily, the album adds mariachi-style horns to White Fang’s own brand of punk, granting the band some additional distinction. It’s less an album than an experience. NILINA MASON-CAMPBELL.
Point Juncture, WA, Heart to Elk (Self-released)
The best things in life require patience and tenacity, and Point Juncture, WA’s tendency to work and rework songs to perfection paid off generously on the group’s opus, Heart to Elk. Stretches of this thick, harmony-driven shoegaze album are absolutely breathtaking, and every song fits into PJWA’s intricate, layered puzzle. CASEY JARMAN.
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