In part 1 of this month, reviews of Jason Derulo, Skrillex, Linkin Park, and Young Thug & Bloody Jay.
Everyone who said Skrillex was a novelty, a fluke, a parody, a caricature, a passing fad, the last straw, a new low, the most ridiculous music to ever hit the charts, the most ridiculous music to ever hit your eardrums, a one-hit wonder, oops-make-that-a-two-hit-wonder, or a man with bad hair was probably right. But he’s also the most important electronic musician in America.
Every year, the Village Voice holds an annual poll, inviting nearly every critic in the biz to vote on the best albums and singles of the given year. Because of its size, it’s generally the best way to measure yearly progress in pop music: the numbers actually mean something. The thing is huge; 493 critics voted in 2012. Although there’s less change than I would have liked, there’s been definite progress since last year. The 2011 Pazz & Jop albums chart contained only one major album, a collaboration between two artists who have both done better work elsewhere. The singles chart alternated between arty album tracks and crass pop-rap rampages beloved by opportunists always on the lookout for new ways to one-up their colleagues. What made it onto Pazz & Jop last year was not what people really loved, but what they didn’t hate, the result of a standoff between the ideologically opposed magazines Rolling Stone and Pitchfork – the winners were the albums mediocre enough to survive. Rather than a consensus, I thought, we had a lack of consensus.