The geographic distribution of artists was relatively predictable. High representation from the United States (54 albums, 68%), followed by a handful from the UK (7, 8.8%) and Canada (4, 5%). Truly the Sunbury doesn't set on the British empire. The only surprise was plucky Sweden which is locked in a power struggle for continental dominance with France. Each with three albums (3.8%).
The distribution of scores to countries roughly follows the same pattern, with the United States taking up a slightly lower percentage of points (65%) and England (9.5%) and Canada (7.8%) taking up a bit slack. Of course, the race we really care about is the continental struggle between Sweden and France. And I have even more disappointing news for fans of Sweden and Miike Snow: France pulls ahead and conquers Sweden with 6.8% vs. 4.7%. What did Dr. Johnson say about the compilation of his famous dictionary? "As 6.8% is to 4.7%, so is the proportion of a Frenchmen to a Swede"? I think that's right.
Not a moment goes by when some aged hipster rag doesn't tell us all about how Brooklyn is the hottest shit since sliced bread came out of a caveman. Apparently, they're right. Thirteen albums (17%) came from New York, but an amazing six (7.8%) of those came from Brooklyn. Even more impressive is Brooklyn's racking in of points. New York as a whole received 21% of the score, but Brooklyn by itself received 15%. As the poet said, Brooklyn keeps on taking it.
On the score front, Baltimore, thanks almost entirely to Animal Collective, received 8.3%. Most shockingly, San Francisco received 5.7% (Girls with a small assist from Cass McCombs (seriously give him a chance)); Toronto received 5.6% (Rural Alberta Advantage, Metric); and Versailles received 4.5% entirely on the back of those Swede-killers Phoenix. Most surprisingly to me, five albums from Seattle-based bands made the list. Luckily, they only received 1% of the points, so we're all safe from flannel.
Philadelphia sucked. I don't want to talk about it. Or Langhorne Slim, Karp.