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2012 Albums of the Year: 15-6

December 22, 2012

15. Memory Tapes – Grace/Confusion


Pitchfork: 6.2/10

Metacritic: 72/100

14. Max Richter – Recomposed by Max Richter: Vivaldi, The Four Seasons


Pitchfork: –

Metacritic: –

13. Frank Ocean – channel ORANGE


Pitchfork: 9.5/10

Metacritic: 92/100

12. Frightened Rabbit – State Hospital EP


Pitchfork: 6.1/10

Metacritic: 75/100

11. How To Dress Well – Total Loss


Ptichfork: 8.4/10

Metacritic: 77/100

10. Beach House – Bloom


Pitchfork: 9.1/10

Metacritic: 78/100

9. Wild Nothing – Nocturne


Pitchfork: 8.3/10

Metacritic: 75/100

8. The Tallest Man On Earth – There’s No Leaving Now


Pitchfork: 7.1/10

Metacritic: 72/100

7. Purity Ring – Shrines


Pitchfork: 8.4/10

Metacritic: 76/100

6. The xx – Coexist


Pitchfork: 7.5/10

Metacritic: 79/100


Average Pitchfork Score: 7.8/10

Average Metacritic Score: 77/100

Some really great albums starting to surface here as we break the top ten.

This is where Channel Orange landed for me, despite consistently being a list-topper, or at least very close, elsewhere. I guess R&B really isn’t my thing, but I did enjoy this a good bit.

Grace/Confusion is an interesting appearance this high on the list, as I admittedly first listened to it just last week. It instantly clicked and made a rapid ascent up the list. Maybe its the drop-off in chillwave-esque albums this year that made this one really stand out, but I’ve enjoyed listening to it a lot recently.

Recomposed by Max Richter provided something of a challenge for me on its inclusion. It’s incredible, but is it incredible because of the recomposition or is it incredible because its the Four Seasons. Is it fair to pit one of the greatest and most recognizable pieces in music history against this year’s other releases? It’s certainly been one of the most enjoyable albums to listen to so I’m including it.

CoexistThere’s No Leaving Now, and Bloom are all great albums. Unfortunately, they all suffered from the unavoidable flaw of being released after XXWild Hunt, and Teen Dream, respectively. It’s not really fair, but sometimes it’s just unavoidable to compare a release to the artist’s stellar previous release. That’s just the burden of setting a high bar, I suppose.

Finally, State Hospital is up this high because I will love everything Frightened Rabbit releases, forever and always. The band puts out such simultaneously brutal and poignant expressions of ache and pain that it creates the paradox: man, I sure hope things get better for Scott Hutchinson soon, but do I really?


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