Pazz & Jop 2011: Michael Tedder On Fucked Up's Majesty, Danny Brown's Cunning Skills, And The Joy Formidable's Outro Power
To supplement this year's Pazz & Jop launch, Sound of the City asked a few critics to expand on the reasonings behind their voting. Here, Michael Tedder breaks down his entire ballot, and along the way he talks about about the operatic heights of Fucked Up, the shredding ability of Annie Clark and Ritzy Bryan, and the power of the "boof."
Fucked Up, David Comes to Life (30 points): I was starting to get a sense of the way the wind was blowing for this year's roundup, and I'm generally aware that aggressive music, no matter how smart and inventive, has a ceiling for critical support. (I should point out that I submitted my ballot before the Spin endorsement.) So, just like I did last year with Titus Andronicus' The Monitor (I will not accept the idea that anyone this decade wrote a better album about America now, or a better album period than that), I went all in, points wise, to try to get my favorite album in to the top ten. Like last year, I failed, and I regret nothing. Anyway, people focusing on the intentionally confusing plot of this rock opera are not paying enough attention to the operatic arrangements (that term is not used as loosely as you imagine) Mike Haliechuk and company are offering up here, like some bizarre amalgam of Crass, Queen and Chavez. Also, I still don't know how Veronica died, and I'm surprised that in these #OWS days no one is discussing the working-class fatigue subtext ("those better days have passed us by") on display here.