To supplement this year's Pazz & Jop launch, Sound of the City asked a few critics to expand on the reasonings behind their voting. We'll start off the series with Seth Colter Walls of New York City, who has a constant itch to do the deep dive and find the single-voter albums out there. Find his ballot here.
Damn do I ever love voting in, and then reading, Pazz and Jop. All these serious music-listening people, expressing opinions, mostly with a high degree of sincerity: admit it, it's a nice break from the social media-enabled review cycle, in which a lot of people apparently feel obliged to sound off on topics about which they may only kinda sorta have an aesthetic stake. (Read: The Internet.)
Consumers (and/or voters) often look to the number ones, to talk about the consensus where it existsme, I liked but did not love Merrill Garbus's poll-winning record, outside of the stunning tracks "Powa" and "Bizness"; I suspect her masterpiece as a composer may yet be written for forces larger than her multi-tracked selfbut in times where a 10-vote album ballot feels ever more confining and statistically unrepresentative of broader listening habits, I'm always fascinated to look at the sheer number of lonely minority reports on this side of the poll.
Critics cited 1,734 different full-lengths this year; way more than half of those titles had only a single champion. Multiple votes for albums only start to occur with real consistency around poll position #341 (Gang of Four's Content). If you're a true Pazz freak you're gonna do the deep dive, and try to find something new in that glut of passions rebuffed (or ignored) by the hivemind. As in: wow, East River Pipe put out a record this year? I didn't know that. Same-ish thing goes for Brooklyn Rider and their disc of Philip Glass string quartets. More »