If you were to look up the word “internet buzz” in the dictionary (and if this dictionary updated in real time), there’s simply no way there wouldn’t be a picture of bedroom pop singer Julia Holter. Ever since “In the Morning” got Best New Track from Pitchfork and her LP Ekstasis got Best New Music,
Pitchfork ironically announces offline festival online
Well-known critics and users of terminology such as ‘rapegaze’ Pitchfork have announced #Offline, a three-day festival in New York City that doubles as having some pretty decent music and being a giant middle-finger to the CMJ Music Marathon. The festival coincides with the three biggest days of CMJ, Thursday, Friday, and Saturday, and the popular opinion is that Pitchfork is trying to make a statement about something other than the latest glo-fi noise fad/Kings Of Leon flop.
CMJ has long been a destination, like SXSW, functioning as a milestone for bands to come of age and gain major attention. Even last year acts like The XX and Mumford and Sons emerged from the week-long clusterf*ck as front-runners for cheers and deals (and some for good reason). This year’s lineup may hold a bunch of sleeper zingers, but for a major media outlet like Pitchfork to flat out ignore New York’s (current) largest and most complicated new music machine is not a coincidence. It’s part of a larger idea that CMJ is no longer worth partnering with, and the festival is too big for it’s ever-shrinking college radio chart business to justify or sustain. But this dialog has been happening for years…
Read the rest of our feature here: http://www.baeblemusic.com/musicblog/10-15-2010/pitchforkironicallyannouncesofflinefestivalonline
Feature: do we really need another Pitchfork retrospective Best Of List - http://www.baeblemusic.com/featuredarticle/do-we-really-need-another-pitchfork-retrospective
Why does one of the driving forces of forward-thinking music criticism insist on frequently dwelling in the past? The self-proclaimed source for rising music often finds itself knee-deep in decades long past, categorizing and ordering songs according to the whims of the editors. But why? And should we be paying attention? Let’s take a moment to talk about it now, so I don’t have to talk about it anymore.
First, a gut reaction: “The ‘Fork loves to force their overlord editorial on other perfectly fine decades, stiffing our desire for innovation by trying to further categorize the things we already know and love” (is one way of putting it). But this view (which many hold, unreasonably) does not take into account the work or the reasoning behind their efforts, or the other negative effects of taking opinions things too seriously.
preview: 2010 pitchfork music festival
On paper, many big music festivals sound as appetizing as a slice of cool watermelon on a sweltering summer afternoon. That is until one exchanges three hundred dollars for the chance to try and navigate a dizzying tangle of people, bands, and stages, all spread across intense acres of festival grounds. Oh, and that watermelon? It costs 8 bucks.
Interestingly enough, it’s the folks at Pitchfork who sought out to offer a very different sort of experience when they began curating their own festival back in the mid aughts…Click here for this weekend’s line-up.
HEADS UP: Later this week we’ll also be bringing you a special edition of our T.G.I.Mixtape, curated by none other than the festival organizers. STAY TUNED!
arcade fire single found in glasgow record store
THE UK - Hipsters let out a collective groan of unenthused ennui today, when this momentous event was preached from P4K’s pulpit. Chris Ward (of Sub City radio in Scotland) wrote the folks at Pitchfork to alert them to the existence of the above pictured record, seemingly simple and unmarked, in a record store in Glasgow…
roots in studio with dirty projectors
ZOMG. The Roots have teamed up with The Dirty Projectors in studio to finish How I Got Over and there is a video to prove it… sometimes Pitchfork makes me sooo happy!* They also put up the tracklist.