Defend Your Ballot: Eric Sundermann, Pazz and Jop 2012 Contributor

Pazz and Jop
You can't really know where you're headed unless you know where you've been. For that reason, we're taking a look back at Pazz & Jop 2012 to drill down into the ballots of contributors and voters who participated. Maybe amongst the rubble we'll find clues about lies ahead for music lovers in 2013. Here, Village Voice Editorial Arts Assistant Eric Sundermann defends his ballot.

See Also:
- Frank Ocean's Sea Change

Eric Sundermann, explain who you are and why anyone should give a shit about what you think about music.

I'm only 25 years old. Let's be real. Nobody should really give a shit about what I think about music--but somehow I've tricked people into paying me to write about it. Oh yeah, and also, I work for the Village Voice.

Pffft. Village Voice. What year is this? In what capacity do you work for the paper?

I'm the Editorial Arts Assistant. I write a bunch of shit, like music, books, theatre, beer, etc. I'm what you would call a renaissance man.

Pazz and Jop Ballot
Click for larger version.
A jack of all trades, master of none. Got it. Looking through your ballot, we see you've given equal points to everyone in your top ten. Why is that? Were none of your favorites good enough to be your actual favorite?

Yeah, pretty much. And also I'm afraid of having opinions. Just kidding on that last part. I feel like 2012 was such a diverse and dynamic year for music. I had such a wide variety of favorites, it was pretty hard to pick one. However, I put the Woods record at number one simply because I listened to that and only that for pretty much like three months straight.

What stood out about Woods so much that it dominated 1/4 of your year?

Well, I'll be real. I got my ass dumped RIGHT when the record came out, and it was pretty much exactly what I needed to hear to get myself out of that fragile emotional state. Also, "Pop That" on repeat for like hours on end, which you'll see made my Top 10 singles. Also, Woods fucking rule, and I feel like on this record, they really came into their own. They'd done some crazy experimental shit in the past, but once they cleaned themselves up, they landed on this beautiful, catchy sound that I just fucking love.

So your official sound bite on them is they "fucking rule." Very much in the Village Voice/Robert Christgau mold. Well done.

I'm pretty okay with that being my sound bite.

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