Made the Cut

How in the Hell Did We Pick these Bands?

We didn't just pick our friends. We didn't have an office darts game. Instead, we picked the brains of Portland's music community to compile a list of the bands, DJs and emcees who are setting our town's collective ears afire. Here's how we did it:

1. We sent 100 ballots to writers, label owners, club owners, bookers and producers asking for the names of their top five new local bands. Voters could define "new" and "local" however they wanted, but we were looking for five bands, DJs or musicians who made a first impression in the past year, either by playing out live or releasing an album.

2. We received 40 responses. Not bad for the first year.

3. We tallied the votes. Each voter ranked the bands on a five-point scale, with

No. 1 = 5 points, No. 2 = 4 points, No. 3 = 3 points, No. 4 = 2 points and No. 5 = 1 point. If no order was given, the points were distributed equally, based on the number of bands that received votes.

4. We counted the votes and compiled this list.

That's it. If you have questions, or would like to be included in next year's poll because this one is "bullshit," email mbaumgarten@wweek.com.

For a complete list of voters and their picks, visit www.wweek.com. (Mark Baumgarten)

1. MENOMENA

33 POINTS

lion fever

Menomena seemingly came out of nowhere and took Stumptown by storm in 2003. The trio splashed with the self-release of I Am the Fun Blame Monster, a record worth every penny because of the music, but worth even more because of the accompanying 64-page flipbook hand-created by the band at Kinko's. But what is the hype all about (besides the entertaining, addictive flip book)? I Am the Fun Blame Monster is, in a nutshell, mesmerizing. Menomena comes off as a group of as seasoned vets, top-notch players who have been around and finally captured their vision perfectly. The album is a dark, moody collection of smoky jazz ambience and atmospheric rock, all with a slight hip-hop flavor. Even with the band's mood-oriented grooves and soothing demeanor, they still know how to throw down an undeniably pleasant melody, one that has no problem getting the toughest of critics nodding in approval, if not singing along. It all comes together eloquently, providing the perfect late-night, winding-down record for any occasion. Its blurry-eyed sting resonates with all who hear it. Labels are already clawing at this band, so don't be surprised if they get snatched up before the release of their follow-up. (Read more about Menomena on page 5.)

Alex Steininger, Owner, In Music We Trust;
Vice President, Marketing and Business Relations, CD Baby

2. DOLOREAN

18.5 POINTS

The first time I listened to Dolorean's debut, Not Exotic, I immediately listened again. The music intrigued me with its strange mix of minimalism and complexity. It harked back to "Pink Moon" by Nick Drake in 1972: unique, unclassifiable and more infectious with each listen. Alex James, the singer, guitarist and only permanent member of Dolorean, surrounds himself with a cast of great players, including Jay Clarke, guitarist-keyboardist of the Standard. The typical rock band setup of guitar, bass and drums is augmented by hauntingly beautiful cello, piano and organ. There are shades of influences here: the Band, acoustic Neil Young, Alejandro Escovedo, even Elliott Smith. It's an album you want to sit down and listen to at high volume in the dark. The album opens with "Morningwatch," its simple cello dragging you into a world of beauty and sadness. "Traded for Fire" casts James as a Jeff Tweedy doppelgänger with Clarke's piano accenting the tune brilliantly. By the last notes of the final track, "Spoil Your Dawn," the musical journey ends, leaving me with a smile and a mind full of the emotion that accompanies a blissful voyage into the world James has created.

Terry Currier, Owner, Music Millennium

3. LIFESAVAS

17 POINTS

The first time I caught the Lifesavas was at
the Roseland as the opening act for GZA. Often, the opening act is intimidated by the big stage, speeding through its set. On this night, however, the Lifesavas commanded the stage. The confident personas of Vursatyl and Jumbo the Garbageman, the booming beats and the crowd participation left me thinking, "These guys are the next big thing." After blazing through hype shows over the next couple years, the question remained: "When does the album drop?" Well, it did this last year, and, much to my delight, they've come a long way, cementing themselves as the torch bearers for Portland hip-hop worldwide. Their affiliation with Oakland's Quannum Records, who released the album, Spirit in Stone, unites them with one of the most respected crews in the game. The past year saw them realize on record the potential first displayed years ago with captivating live performances. They might not be "new," per se, but the trio's underground hip-hop found a larger audience this past year with a newfound polish that catches the ears of more than just the die-hard underground fiends. The only question that remains is "what's next?" If what has happened so far is any indication, we're in for a treat.

Eric Bowler, General Manager, Elevated Media Group

4. CLIMBER

15.5 POINTS

What did we all do before the boys in Climber emerged from their basement and washed this fine city in warm organ tones and sweet, hushed vocals? I don't remember, but I imagine it was much more depressing and cold. The quartet of twentysomething popsmiths went underground for two-and-a-half years developing a sound that straddles the line between the electronic and the organic world, snatching beauty from each. The result of their toil was the self-titled debut EP, a collection of seven songs that exhibit an obsession with a rich analog hum, bass-heavy synth lines and intricate pre-programmed drum-machine parts. As far as the words go, the vocal duo of Michael Nelson and Caleb Brumbelow explores a melancholic world where contemplation over estranged friendships is delivered in the same hot breath as metaphor-heavy faceoffs with various beasts of the world. The magic of Climber's music, and the reason these guys deserve to be in the upper echelon of the Portland music world, is that they've found a way to create songs based in sadness that resonate with such life-affirming energy that they rarely leave a listener pondering the dark side of life. And all of this from four guys locked in a basement.

Mark Baumgarten, Music Editor, Willamette Week

5. VIVA VOCE

14.5 POINTS

Kevin and Anita Robinson, the husband-wife duo who perform as Viva Voce, moved to Portland shortly before releasing their second album, Lovers Lead the Way. There isn't much to be said about this band that hasn't already been gushingly reported by many music news outlets, including Tape Op Magazine, Pitchfork Media and CMJ. Lovers mixes every soothing pop experience imaginable: strings, easy rhythms, fuzzy guitars, pretty vocals, smart reverb and lots of layers. Much like their friends in Menomena, they do their recording at home, making common tools perform in ways that the big boys can't seem to achieve even with all their gobs of cash. Live, Viva Voce pulls off the improbable task of reproducing the huge sound of their record through the clever use of sampling and loops. Kevin, in particular, becomes a bit of an octopus, singing while he plays drums, and then guitar, all the while fiddling with some machines just barely out of sight. Either that or he's manipulating runes on some dark altar, because it's impossible to explain in any technical way exactly how this band has so completely won my heart and my devotion.

David Also, Editor/Publisher, Music Liberation Project

6. SIREN'S ECHO

13 POINTS

Siren's Echo is the group pioneering Portland hip-hop. Although I spent most of the winter inattentive to new music, the sounds of Siren's Echo made me take notice. Encouraging those of us who are struggling against the stereotypes of women making music, these ladies tackle the extremes of hip-hop styles with their affecting lyrics and direct deliveries. The duo artfully achieves resonance by way of these extremes: While sharp and blunted, dark and hopeful, their dissonance creates an unexpected harmony. Emcees Syndel and Toni's paradoxical sounds generate the tension I selfishly look for in music with true character. Siren's Echo nails a soulful jazz attack through visceral production that challenges the upbeat tempos expected of mainstream hip-hop music. We will soon look to this band as the local authority on the blending of histories with hopes through musical genres. And

just as any authority figure demonstrates the extremes within each of us, these two women are delivering three-dimensional music to challenge the boundaries when taking a cultural movement to a cultural arena.

Misty McElroy, Founder and Director, Rock 'n' Roll Camp for Girls

7. THE THERMALS

11.5 POINTS (TIE)

Somewhere along the line, the Thermals realized how easy it is to write good, stripped-down, pop-structured rock songs. They make it look so simple, I don't know why everyone doesn't do it; a solid hook, a couple of verses and a chorus, some clever lyrics avoiding the usual subjects, no bullshit filler getting in the way of the momentum of the song--a classic way for a band to write pop songs. It's raw and straightforward, with no real studio tricks or gimmicks to fog it up. But even without all that, for me it's all about the Thermals live. There are so few "rock" bands these days that inspire you to move your body and have a good time, and the Thermals just make me have a good time like it's expected. Oh yeah, and speaking of "stripped-down," Hutch did get a reputation pretty quickly for his nude antics at live shows as well, but that was a while ago, so don't get any ideas.

E*Rock, Founder, Audio Dregs

7. THE MINDS

11.5 POINTS (TIE)

"New Wave? Doesn't that...ya know...suck?" Well, yes and no. Yes in that it turned a great rock-'n'-roll-based movement (punk rock) into big-haired, overproduced dreck that we are still suffering from thanks to godawful "'80s nights" and horrifying karaoke. But New Wave was also a term used to push bands like the Ramones, Radio Birdman, the Saints and the Dead Boys to an indifferent America more interested in coke, disco and soft rock. Portland's Minds inject much-needed venom into New Wave's skinny-tie-wearing corpse. These folks write catchy, crunchy, punky songs about wanting to "smash smash smash!" every time the freaks and the creeps call your name. It's happy music (really!) but frontman Joel Jett also adds lots of bitterness, hatred and good old anger to the proceedings ("yeah, yeah--you're gonna be DEAD!" is another fave line). This is a band that could pack the dance floor while breaking a bottle over the heads of the "Flock of Haircut 100s" that took the term New Wave away from all the rock-and-roll bands. Give it back to to the Minds!

Ryder Greene, Co-owner, Green Noise Records

9. LION FEVER

10.5 POINTS

The reports of Lion Fever's demise earlier this year (and who in their right mind was saying that? Rumor-mongering scum!) are much exaggerated. The poisonously pleasurable trio fronted by guitarist Jennifer Pearl--she of the wickedly louche groan 'n' wail--shuffled members after burning its debut EP, Lustre. But a slightly altered threesome still peddles its wicked wares: a reeling, narcotic punk-blues ripe with lust, envy, hate and several other deadly sins. Simultaneously one of Portland's most sophisticated and most stripped-down bands, Lion Fever set itself a high standard with its all-too-brief disc, but seems plenty ready to make good on the down payment.

Zach Dundas, Staff Writer, former Music Editor, Willamette Week

10. BLITZEN TRAPPER

10.2 POINTS

Self-assured and catchy as hell, Blitzen Trapper's self-titled debut was one of the most ambitious albums to come out of Portland last year. Too bad you didn't hear it. Released without the help of a label and sold primarily online and at shows, Blitzen Trapper went largely unheard in the group's back yard, not to mention everywhere else. That's a shame, because from the cover art to the track sequencing it's obvious that Blitzen Trapper wants more. The tracks follow each other in perfect fast-slow, sad-happy formation, kicking off with the hooky power-pop of "The All Girl Team" and closing with the nostalgic slide-guitar twang of "Texaco." Along the way there are stops for everything from breakneck hillbilly punk to psyched-up line-dancing tunes, all delivered with clever deconstructionist flare and a firmly melodic pop sensibility. The result is that rare creation: a full-length album that begs to be listened to all the way through. Now, with the local music community starting to take notice and plans for a national release and tour in the works, it seems Blitzen Trapper might finally be heard. With any luck, they'll soon be attracting the full-scale pop audience they so obviously desire--and deserve.

Matt Wright, Music Editor and Content Developer, OEBase.com