Jan 02, 2009  |  By: REBECCA ARMENDARIZ  | COMMENTS     

Musically, this year began as one of the mopey, alternative gay man, but then saw a period of releases from notable lesbian singer-songwriters, and later, diva comebacks. The good releases were great, and the bad, though few, were abysmal.

First, the large quantity of good news. Bob Mould and Mark Eitzel of American Music Club, two veteran indie rockers, put out commendable records with updated sounds. With signature motifs established in the 1990s, both artists must sound fresh to gain any sort of recognition. Mould spins dance tracks locally at the monthly dance party Blowoff, but produced guitar-heavy, catchy rock on “The District Line,” while Eitzel and co. poetically wallow in self-pity on “The Golden Age.”

Icelandic band Sigur Rós, known for varied instrumentation (gay lead singer Jónsi sometimes plays his guitar with a violin bow on stage), released the more light-hearted “Med sud i eyrum vid spilum endalaust.” Usually the band relies on its sonorous buildup to carry the lengthy tracks, but tinkered with a childlike playfulness for buoyant tracks like “Gobbledigook.”

The B-52s proved that their brand of chirping harmonies and surf-rock hasn’t gone out of style on “Funplex.” Their looks and images intact, the queer band promoted “shimmying” and “shaking” with Fred Schneider’s signature Sprechstimme dominating the commands. The band remains an institution of carefree party music.

Lesbian folk guitarists Catie Curtis and Indigo Girl Amy Ray reenacted campfire moments on the lazy “Sweet Life” and “Didn’t It Feel Kinder,” their respective 2008 releases.

k.d. lang is a pro. Her multi-instrumental talents mixed with her stint as producer and her musical maturity created “Watershed,” a perfect example of an artist aware of her audience. This soothing album of jazz lullabies finds lang’s perfect voice beating down from the heavens and never disappointing.

The divas somehow managed to dominate 2008 just as they have in years past. Madonna and Janet Jackson took over the early part of the year with “Discipline” and “Hard Candy,” both hip-hop-infused dance-pop records full of big-name producers and guests and dirty talking about sex and love.

Dolly Parton delighted with “Backwoods Barbie,” her most upbeat, most mainstream-sounding record in years. Mariah Carey’s oddly named “E=MC2,” a nod to her comeback, was a stronger record than its monster-selling predecessor, “The Emancipation of Mimi.”

Newly single Pink fiercely kicked her competition out of the way with “Funhouse,” a heartfelt but fast-paced record about her marital problems and self-esteem issues. Pink always successfully injects a “who cares?” attitude into her most powerful songs, sassily letting listeners know she’s quick to recover from any setback. “Funhouse” could be paired with Pink’s Swedish counterpart, Robyn, whose self-titled release earned her a spot on Madonna’s European tour and a place moving the feet of both underground rock fans and dance enthusiasts.

Beyoncé and Britney Spears impressed fans toward year’s end with outstanding and memorable singles — “Single Ladies” and “If I Were a Boy” for Beyoncé and “Womanizer” and “Circus” for Britney. The albums, however, fell flat.

The two records weren’t crimes, however, compared to this year’s worst record, Katy Perry’s “One of the Boys.” The post-Christian, could-be experimenting with lesbianism, anti-feminist dreck somehow sold millions, but those with taste appropriately shunned her misinformed “Ur So Gay” and “I Kissed a Girl.”

The biggest disappointment of the year was New Kids on the Block. With a comeback years in the making and major-label backing, “The Block” was supposed to be a solid effort. The boys have experience to sing about and deep, matured vocal chords. The result was akin to your dad making a record about sex. Cringe and move on.