By Seth Colter Walls
By Brett Koshkin
By Spencer Wilking
By Christina Black
By Calum Marsh
By J. Pablo
By Phillip Mlynar
By Jenna Sauers
In my official capacity as tabulator of this poll, I hereby confirm the decisive victories of Frank Ocean's album Channel Orange and Carly Rae Jepsen's song "Call Me Maybe." Thirty-five percent of critics voted for Channel Orange, close to the historic 37 percent Kanye West received in 2010, and far beyond the 19 percent with which tUnE-yArDs won in 2011. "Call Me Maybe" got 1.74 times as many votes as the second-place single, which is also nearly as high as the epic 1.78 margin for Cee Lo Green's "Fuck You" in 2010 and far higher than any other recent song winner.
Miguel Is Living The Dream
Sex takes center stage on his sophomore album
By Brian McManus
Frank Ocean's Sea Change
His musical and personal honesty made waves in 2012
By Eric Sundermann
A Trip Through Fiona Apple's Wheelhouse
The singer-songwriter wrestles with the idea of mind as machine
By Audra Schroeder
Kendrick Lamar, Finally Compton's Most Wanted
It took quite some time for the rapper to become an overnight success
By Jeff Weiss
The Confounding, Inexplicable Splendor of Rapper Future
Space is the place
By Rob Harvilla
Pazz & Jop: Taylor Swift, Grimes, and Lana Del Rey: The Year in Blond Ambition
How dare they have an image
By Jessica Hopper
You Don't Know Jack (White)
After a dozen years in the public eye, the man proves he can still surprise us
By Alan Light
Riff Raff Is Keeping It Surreal
He's believable as a hip-hop star because nothing he says is true
By Ben Westhoff
Travel Tips From Touring Bands
By Kiernan Maletsky
A Note on Crap
True art lives where no one is paying attention. Or probably not.
By David Thorpe
Top 40 Albums
The year's big albums, from Frank Ocean on down
Top 42 Singles
"Call Me Maybe" kicks off the top of the pops
Pazz & Jop Comments
The who, the what, the where, and the why, why, why
The Top 25 Album Covers
A lovingly hand-assembled gallery
Weak consensus versus inspiring diversity
By Glenn McDonald
Beyond the winners, though, 2012 was another year of relatively weak consensus. In 2010, there were seven albums that received votes from at least 15 percent of the voters, and 13 that got votes from at least 10 percent. In 2011, only three albums received 15 percent, and 10 got 10 percent. In 2012, there were four that got 15 percent and only nine that got 10 percent. That is, 99.4 percent of the albums didn't even make the top 10 for more than 90 percent of the voters. But the other way to say "weak consensus" is "inspiring diversity": This year's voters contributed an average of 3.2 different albums per person, which is easily the highest since we started calculating this figure in 2008.
Album voters assign each album five to 30 points, with 100 total points to distribute across 10 albums. As is usually the case, this point system made little difference to the top of the overall ranking. Were the poll tabulated strictly by vote count, the top seven would stay the same. Grimes would jump Killer Mike into eighth place, and Jack White would jump Beach House into 10th. But the more interesting thing points gives us is an enthusiasm rating, which is an album's average number of points per voter. The three standout albums by enthusiasm were Dean Blunt and Inga Copeland's Black Is Beautiful (15.7 ppv), Lambchop's Mr. M (15.4), and the Steve Lehman Trio's Dialect Fluorescent (14.2). The highest enthusiasm score among the top 10 albums went to Japandroids' Celebration Rock, which got 12.4. (Due to the point rules, enthusiasm scores more than 15 are rare, and scores over 12 are notable.) At the other end of the table, the three albums with the lowest enthusiasm (counting only those with at least five votes) were Rick Ross's Rich Forever (6.9 ppv), Hospitality's Hospitality (6.9), and Mac DeMarco's 2 (6.4). Of the top 10 albums by points, the lowest enthusiasm score was Grimes's Visions, with just 9.5.
Although the poll is primarily designed to rank music, it is also a way to rank voters. We do this by centricity, which measures how close each voter came to picking the 10 albums with the most total points. The joint winners by this measure were Jeremy D. Larson and Michael Gallucci, whose albums represent about 85 percent of the maximum possible points, in both cases including more than half of the actual top 10. At the other end, there were four voters whose album ballots contained entirely one-vote albums: Brett Callwood, Chuy Verela, Jacob Edgar and Angela Sawyer. Whether this makes them extraneous or invaluable is a matter for you to decide.
Although this centricity score might not be inherently interesting to you unless you are one of the voters, it allows us to calculate a derivative rescoring of the album poll called kvltosis, in which each vote's points are inversely prorated by the voter's centricity. This measures the extent to which an album represents diverse agreement among voters who otherwise don't follow the poll's general consensus. The top such cult discoveries this year were by Amanda Palmer & the Grand Theft Orchestra, Wadada Leo Smith, Gojira, Tim Hecker and Daniel Lopatin, Black Breath, Lee Ranaldo, Black Bananas, Future of the Left, Screaming Females, and High on Fire. So if anybody complains that the winners were predictable, this is where you send them instead. The closest albums to the poll's consensus that weren't themselves winners were Action Bronson and Party Supplies' Blue Chips, El-P's Cancer 4 Cure, and Chairlift's Something.
The last general-purpose album metric is hipness, which measures the fraction of an album's points that came from voters who also filled out their singles ballot (a snide contention being that grouchy older voters tend to skip the singles, while hip young kids do not). There were 19 albums this year whose voters all also voted for singles, with the most notable being Jessie Ware's Devotion (#30 in the main poll). The hippest album among the top 10 was Miguel's Kaleidoscope Dream (almost completely hip at .962), and the least hip was Tame Impala's Lonerism (borderline passably hip at .699). The bottom of this ranking provides some compelling support for the voter-age hypothesis, with hipness below .333 for Patti Smith,the Beach Boys, Graham Parker, and Can.
The only alternate score we calculate for the song poll is singularity, which measures the fraction of a song's votes that came from people who did not also vote for an album by the same artist. This is an attempt to factor out perfunctory singles ballots that are really just repeats of the album lists. The runaway winner in this category is Gotye, whose omnipresent "Somebody That I Used to Know" was on 31 song ballots this year and eight more carried over from 2011, but not a single one of those 39 voters voted for his album Making Mirrors. And the single voter who did vote for the album didn't vote for that song. "Call Me Maybe," perhaps surprisingly, ranks only 56th by this measure, lower than Usher's "Climax" and Kanye's "Mercy." At the other end, everybody who voted for Killer Mike's song "Big Beast" also voted for his album, and almost 75 percent of the people who voted for Frank Ocean's "Pyramids" also voted for Channel Orange.
This is fascinating stuff, but I'm trying to figure out how I wound up with a metalism score of .727. Only two of my top 10 are non-metal albums, and I gave them each 10 points, so whether it's based on the raw number of metal albums or the percentage of total points allotted to metal albums, shouldn't I be at .800? Or do bands like Torche and Baroness only count as partially metal?
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