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Posts Tagged “Pitchfork”

how your sausage gets dropped on the floor

TV On The Radio's Commagate: The Plot Thickens,

Last month, we noted that, despite media outlets from Pitchfork to Paste to USA Today claiming there was a comma in the title of TV On The Radio's triumphant new record Dear Science, there was no punctuation to be found in the album's actual name. (He missed MTV, Blender, and AllMusic, all of which showed their commitment to the cuddly clause-container weeks after his expose broke.) More »

anonimous interview series

"Shhhh-it!": Idolator's Super-Secret Music-Biz Interview Series Reborn

When I joined the Idolator Army of Champions, the first thing I asked Maura was whether I could revive the "Shhhh-it!" AnonIMous Super-Secret Music-Biz Interview Series (how many names does thing have?), which is one of my favorite old Brian Raftery (RIP) features. In case you aren't familiar with the series, one of our editors interviews—via the power of instant messaging, warts and all—a grizzled music industry veteran about their job, the state of the industry, and what have you. This week, we interviewed an indie label owner who asked to be called "Andy Capp." Capp runs a burgeoning indie label with artists that are regularly covered in the Stereogums and the Pitchforks of the world, and who occasionally appear in larger, more mainstream press outlets. The label has an indie-beloved roster, but is still hunting for a true sales breakthrough. It hires publicists and, in many ways, operates like an old-fashioned label, with an emphasis on artist development. In the interview, Capp is fairly pro-Pitchfork, stresses the importance of booking agents, and laments the state of distribution:

i also love that many of the big distributors are now asking for a cut of digital sales....'umm, no thanks, this is your detention for being late to class'

Good stuff! More after the clickthrough.

More »

they write letters

The Airborne Toxic Event Tries To Kill Pitchfork With Kindness

Uh-oh. It looks like we have ourselves another open letter to Pitchfork! After Ian Cohen's 1.6 defenestration of The Airborne Toxic Event's new self-titled disc, the band decided to craft a response to Cohen (and Pitchfork by extension) and throw it out there to the Internet, which, of course, lapped it up. More »

arguing on the internet

Is Techno In A Holding Pattern?

This may be super-last-week of me to mention, but I admired Philip Sherburne's recent Pitchfork column about what he sees as a current malaise in dance music. For one thing, it's a piece whose main body (the stuff Sherburne wrote, not the quotes beneath it) you can read and substitute your own proper nouns into: it's apt about a lot more than just dance music right now. What's most interesting, though, is the light it sheds on dance music as a business. More »

the last last word

"Pitchfork" Bows Out Of The Black Kids Debate With The Help Of Some Adorable Pugs


dubious statements

The Generational Divide In Action: The '90s Take On The '00s In A Steel Cage Match

Today's opening gambit that will probably cause the knees of many Idolator readers to jerk violently comes via Ian Cohen's review of Lemuria's Get Better, an album that apparently sounds like it's been beamed here from 1993: "We have a lot of fun rappin' with ya here at Pitchfork, but let's get serious for a moment: were the 1990s really that bad? Maybe it's a sign I need to spend less time talking with other music writers, because the consensus appears to be an overwhelming, 'dear fucking god, TOTALLY.' " Eh? Even if we're just talking about music, and not the increasing laughingstock nature of American-led culture, I say: Eh? A few examples of why Mr. Cohen should maybe start widening his social circle after the jump. More »

keepin' secrets

Pitchfork Writer Too Embarrassed To Say "Cobra Starship Spin-Off"

The first time I heard This Is Ivy League (back when they were known as just Ivy League), I assumed they were from Sweden, where this brand of sophisticated, historically-minded twee pop apparently bubbles up from underground springs. Actually, Stephen M. Deusner, they're members of Cobra Starship. I was wrong, of course. The duo—Ryland Blackinton and Alex Suarez—actually hail from Brooklyn, and they recorded their self-titled fell-length debut in their own borough apartments. Which are probably paid for with money made from Cobra Starship. "The Richest Kids", the album's opening track, portrays them still cutting their teeth career-wise: "Oh we've been working, we've been paying our dues," they sing over dreamy backing vocals, crisp guitar licks, and a distant tambourine. "We've got dirt on our hands and holes in our choes." They're singing about being in Cobra Starship and I think you mean "shoes." Yet their tender Chad & Jeremy melodies and polished harmonies sound pretty professional, as if they've been at this for years. They have. As members of Cobra Starship. More »

yay, journalism!

Five Ways To Not Write A Trend Piece On Music Blogs

Ah, trend stories, the bane of every journalistic enterprise. On the one hand, they are handy for editors who want to know what "the kids" who will be taking their jobs and houses are up to. On the other hand, they're generally vacuous glosses on subjects that are way too surface-gleaning to even be called "superficial." Greg Sandoval at CNet took the world of "music blogging" under his trend-story wing this morning, and if nothing else it's a primer in how not to tackle this admittedly knotty, yet way too often completely misunderstood subject. Five anti-lessons after the jump. More »

The rest of the Pitchfork Music Festival's lineup has been announced, and rounding out the night where bands perform classic albums is... Sebadoh, performing Bubble & Scrape. Kind of a letdown given a) the speculation about what other bands might be playing and b) my personal preference for Bakesale, but what are you gonna do. Also added to the bill: the Hold Steady, High Places, and Elf Power, among others. Click the album cover for the entire lineup.

Oh, Pitchforkpaws I've spent a good chunk of the day trying to figure out what, exactly, makes the first paragraph of Adam Moerder's Tapes N' Tapes review, which ran on Pitchfork today, so infuriating to me. Is it the idea that the story of an overhyped indie band being chewed up, swished around, and finally spit out by Internet music pundits could be anything resembling "feel-good"? Is it the sorta-back-patting way that Moerder says that "it's tempting to romanticize TnT's rags-to-riches story," ignoring the fact that calling the backstory of an indie band with two albums—one of them brand-new and not-yet-proven in the marketplace—"rags-to-riches" is really freaking huge romanticizing right there? Or maybe it's just the way that he thinks that the idea of writing a "fascinating scholarly paper" about a band's rise through indieland somehow becomes uninteresting when that band hits the "sophomore slump/inevitable backlash" point of its career, despite, you know, conflict causing reason for self-reflection and all that. I wonder if he also fast-forwards through the sad parts of movies. [Pitchfork]

not-all-that-subtle differences

Pitchfork.tv Vs. Videogum: It's On! (Not Really.)

Now that Pitchfork's video-heavy Pitchfork.tv and Stereogum's "Television With Even Less Pity Than Television Without Pity" spinoff Videogum have safely launched, we can all see the folly of all the pre-launch "OMG direct competitors?!?" chatter that threatened to sag the meta-music-blogosphere past its already-pretty-low point. Yes, "video-related sites that are brand extensions of popular music sites and launching in early April" could be a (somewhat wordily named) trendlet, but surely anyone trying to lump the two together as direct competitors is either really overly invested in pitching a trend story on this topic or not so into concepts like "nuance" or "completely different business models and also kind of different audiences." [Hypebot]

premieres

Obligatory Pitchfork.TV Discussion Thread

After much hype, Pitchfork.tv launched today, and it is totally... a site with original music-video content. Like many of this summer's festivals, Radiohead is the headliner, tossing off a performance of "Bangers and Mash" that came out of a jam session in Nigel Godrich's basement. Which autoplays every time you go to the site, which is just a little annoying. I'd write more of a blow-by-blow review, but in the time that it takes to watch LoudQuietLoud this could become a 50-comment thread! More »

counterpoint

A Love That Shall Never Wayne

Lil Wayne will release The Carter III on May 13. Maybe. After all, the guy has spent the last two and a half years doing everything but making actual studio albums: seven or eight mixtapes, dozens of guest appearances, several arrests, and more hype than the"Loungin'" video*. Some of this attention has been warranted. The Carter II, his previous studio effort, is a good but not great record, with "Tha Mobb" ranking as one of the decade's finest rap songs and "Shooter" impressively meshing hardcore raps with a crossover sensibility (though Alan Thicke will forever out-class his son). Moreover, Wayne's ascendence benefited heavily from 2005's ignominious distinction as one of the worst years in rap history, with critics so strapped for music to ride for that they actually tried to convince themselves that Paul Wall and Mike Jones were good. More »

On the one hand, having a contest co-sponsored by Pitchfork and Guitar Center lends support to Jim DeRogatis' "they're the new Rolling Stone!" argument. On the other hand, if you win, you get a lesson in sampler use from the RZA. (You also get a contact high at no additional charge.) While you're forbidden from entering if you work for Roland or Guitar Center, actual Wu-Tang Clan members are free to try, so this could be U-God's chance. [Pitchfork]

lineups

Public Enemy To Play In Pitchfork's Sandbox

I had a pretty good time at last year's Pitchfork Music Festival—it had a solid lineup, cheap water, and gorgeous weather—and the initial announcement for this year's festival, which is taking place July 18-20, is making me excited to head back to Chicago this summer. Vampire Weekend's presence ensures that there will be a ton of heated arguments by the beer stalls; Animal Collective's participation will probably not satiate Jim DeRogatis' wariness over Pitchfork's similarities to Rolling Stone, so we'll be treated to another year of seeing him sitting around the press area with a surly look; and most importantly, Public Enemy is performing It Takes A Nation Of Millions To Hold Us Back in its entirety as part of the festival's annual "Don't Look Back" series. Full list of announced artists after the jump. More »

jumping-off-a-cliffs notes

Jim DeRogatis Takes On Ryan Schreiber, And There Are No Winners

Chicago Sun-Times critic Jim DeRogatis starts off his chat with Pitchfork head honcho Ryan Schreiber by asking if forthcoming video venture Pitchfork.TV will work off "the YouTube or YouPorn model," and things get stranger from there. Also much more argumentative! The whole q-and-a session, which is full of questions about Pitchfork's "new model" and how it affects the idea of Pitchfork as critical enterprise, whether or not Schreiber sees himself as the new Jann Wenner, and the obligatory mention of the evilness of MTV, clocks in around 3,500 words—and that's not even counting the DeRogatis-penned intro and the slightly defensive e-mail Schreiber sends along after the two signed off. After the jump a few highlights, for those of you whose "tl; dr" filter clicked on after seeing that word count. More »

you will be assimilated

"Pitchfork" To Increase Its Stranglehold On "Indie"-Loving Internet Users

Indie rock tastemakers Pitchfork will launch their long-rumored video project, Pitchfork.TV, this April 7, and the site will apparently offer a slew of on-demand, high-definition video content including rock documentaries, performances, and other opportunities to get inside the heads of artists worthy of the site's mention. Whether or not a full-on video site with lengthy clips—which requires a bit more user commitment than scanning the "Best New Music" list for new additions and grabbing MP3s from the ever-updated Forkcast —will capture the huge audience that its parent site currently commands should be a test to see just how well this whole Web 2.0 video "thing" will work, but I'm sure every Idolator reader is eagerly awaiting the moment when "The Interview Show," which promises to bring "today's best and most respected artists face-to-face with the Pitchfork critics who write their features and review their albums," embarks on its ratings-grabbing "0.0 Week." Let the fists fly! The full release—complete with more breathless show descriptions, and demographically correct band-name-drops—after the jump. More »

Urb busts back against Pitchfork's takedown of Idolator fave Steve Aoki's Pillowface mix CD with a screed that manages to zing the entire city of Chicago in the process. Urb's argument, such as it is, hinges on the idea that if Internet faves Justice had released a similar mix CD, Pitchfork would have been all up in that shit, but because of Aoki's rep as a trustafarian faux-celeb DJ, he gets an automatic bad rap. Perhaps. But then again, regardless of your feelings on its merit, Justice is also occasionally known to record and release music—that thing we're still supposed to care about—whereas Aoki's main contribution to the wider culture seems to be providing a reason for the continued existence of the Cobrasnake and Last Night's Party. [Urb]