“We never said, ‘Oh, we’re going to make Kanye West huge.’ Kanye doesn’t need us Arcade Fire didn’t need us. When the site named Drake’s “Hold On, We’re Going Home,” its track of year 2013, the announcement was met with an expectant shrug rather than a stream of shocked tweets. Likewise, the defining lines of taste have changed, in large part due to Pitchfork’s guiding hand. Somebody writing something negative about a record that we like on Grantland is great.” More quality on the Web is great and more disagreements is great. “We’re all for having as much quality content on the Web as possible.
“Talking about an album is far from dead and imitation is the sincerest form of flattery,” Kaskie says. In 2014, Pitchfork is the centre of a large wordcloud of influential websites, forced to expand its reach while maintaining its reputation for quality. It made liking Justin Timberlake, Kanye West and Spoon - at the same time - acceptable, and whether champion or naysayer, it’s impossible to deny its influence on the current climate of music culture. When Pitchfork gave Montreal’s Arcade Fire’s debut a near-perfect 9.7, their record went out of print for a week due to the avalanche of orders, and when they gave Travis Morrison’s Travistan album a 0.0 it caused a college radio blackout for the former Dismemberment Plan frontman. Along the way it’s become a shorthand for both hipster pretension and refined musical tastes, sometimes simultaneously: its decibel ratings system mocked in The Onion its prose style copied everywhere from Grantland to Hazlitt and Buzzfeed. Just over a decade after Schreiber’s review, the online magazine he started in his Minneapolis home has sprouted into a media empire, stretching its “tastemaking” brand to festivals, co-branding opportunities and print editions while seeding the now established industry of long-form online arts criticism. Now I’m on there daily.” The site is no longer the tastemaking behemoth because, like the bands it’s championed, it’s become the mainstream: still powerful but not vital My father tipped me off about it through some guy at his work. I didn’t even have a computer,” Broken Social Scene’s mastermind Kevin Drew recalls of the time.
“Cruising the Internet was just not what someone did. “I’d hate to end this saying, ‘You just have to hear it for yourself,’” he wrote. This advertisement has not loaded yet, but your article continues below.
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