Pitchfork tranches

Ive found in time the search on this forum was shit but if you google whatever keywords with the word hipinion, you get what you're looking for most of the time. I mean even when they keywords aren't exact.

Postby uax » Wed Nov 22, 2017 2:05 am

Stop the bus, I want to get off.

Nearly every Taylor Swift album uses eyes as symbols of intimacy and beauty. Her debut single “Tim McGraw,” released in 2006 when Swift was 16, describes her own blue eyes as more beautiful than the stars of Georgia. “State of Grace,” a single off 2012’s Red, establishes a kinship between Swift and her partner based on their “twin fire signs/four blue eyes.” In 1989’s “I Know Places,” she can tell a lover’s eyes are green even in the dark. Reputation’s best single, “Gorgeous,” mentions “ocean blue eyes.” Swift has only swooned over brown eyes in her lyrics once, in Speak Now cut “Superman.” Consuming Swift’s music as a brown person, then, can mean implicitly accepting that your body is not worthy of poetry.


https://pitchfork.com/thepitch/on-lovin ... ing-brown/
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Postby Double McDouble » Wed Nov 22, 2017 9:58 am

That reads like something I wrote the night before it was due while trying to pack in as many words as possible to meet the page minimum.
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Postby aububs » Wed Nov 22, 2017 10:05 am

Autarch wrote:i'm embarrassed for pitchfork because I used to read about the voyager missions back when I was 14, and basically had come to my final opinion that the golden records completely suck ass by the time I was 16 or so, but these writers are full-fledged adults and they probably just learned about this stuff like a year ago and probably don't even realize how remarkably stupid and pedantic it is to even think that the golden records are worth writing about.


what?

why do the golden records suck ass?
no buddy not really
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Postby mellowgold » Wed Nov 22, 2017 10:07 am

"State of Grace" wasn't an official single.
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Postby landspeedrecord » Wed Nov 22, 2017 10:10 am

endless dave wrote:so back when the Jenn Pelly 33 3/13rd book came out and there was the attendant amount of fanfare around it from the music journalism world because of her place in it, I sort of rolled my eyes at what I felt was a bit of performative back scratching and rah-rahing that all publications and outlets often do around their writers coming out with original work, especially considering it was a 33 1/3rd book (that I honestly have heard nothing but good things about, but still... it's a slight book). but its inclusion on their top 20 end of the year book selection really moves that into :? territory for me. I get that in the Pitchfork and wider music writing world there's this rightful support of DIY and celebrating your scene but Pitchfork is a major media organization that's owned by Conde Nast. something about promoting your staff writer's book above another (with toss away mention of her position, less as a disclosure and more of a descriptor) in a year end list is a remarkably egregious kind of cronyism to me

I understand what you’re saying, but it legitimately is one of the best pieces of music journalism released all year, much better than nearly every other 33 1/3; super well-researched and definitely not “slight”

a very pleasant surprise
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Postby thanks » Wed Nov 22, 2017 10:27 am

thanks
 
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Postby Poptone » Wed Nov 22, 2017 10:30 am

that is some truly atrocious graphic design on that "vinyl enthusiast holiday gift guide" article.

and also promoting that goddamned "rokblock" abortion
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Postby joebagel » Wed Nov 22, 2017 1:10 pm

double post oop
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Postby joebagel » Wed Nov 22, 2017 1:11 pm

late to the party but this omni record (ex-deerhunter folks, post punk) is wicked

https://pitchfork.com/reviews/albums/omni-multi-task/
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Postby loaf angel » Wed Nov 22, 2017 1:24 pm

goldsoundz wrote:i'd bang that moron
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Postby endless dave » Wed Nov 22, 2017 4:20 pm

landspeedrecord wrote:
endless dave wrote:so back when the Jenn Pelly 33 3/13rd book came out and there was the attendant amount of fanfare around it from the music journalism world because of her place in it, I sort of rolled my eyes at what I felt was a bit of performative back scratching and rah-rahing that all publications and outlets often do around their writers coming out with original work, especially considering it was a 33 1/3rd book (that I honestly have heard nothing but good things about, but still... it's a slight book). but its inclusion on their top 20 end of the year book selection really moves that into :? territory for me. I get that in the Pitchfork and wider music writing world there's this rightful support of DIY and celebrating your scene but Pitchfork is a major media organization that's owned by Conde Nast. something about promoting your staff writer's book above another (with toss away mention of her position, less as a disclosure and more of a descriptor) in a year end list is a remarkably egregious kind of cronyism to me

I understand what you’re saying, but it legitimately is one of the best pieces of music journalism released all year, much better than nearly every other 33 1/3; super well-researched and definitely not “slight”

a very pleasant surprise


sure and I've heard the same thing from basically anyone who has read it. I don't really happen to care much about the band but it's cool to have this level of reporting done for a band that very likely should be put in "the canon" and to have discourse around why they aren't in the first place.

but still- Pelly is an established writer at this point and a long time staffer at Pitchfork. it doesn't look great to just so happen to pick one of your staff writer's books in one of the few book related features of the year, let alone at top 20 best books of 2017 (especially after they already published an excerpt when it came out). from what I know, most newsrooms have guidelines about this, including more prominent disclosures and a real aversion to even putting yourself in that position. I'm sure there is a gray area of because the amount of freelancers who end up writing the blurbs and influence the list in their own ways and just generally make up their pool of writers. but it's undue influence to use your considerable place in the industry to self-deal to your own employees that way. the quality of the book is basically a moot topic, but I do refuse to believe that there wasn't just one other music book out this year that could have been put in its place
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Postby adam sampler » Mon Nov 27, 2017 10:33 am

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Postby transitive » Mon Nov 27, 2017 10:39 am

adam sampler wrote:https://pitchfork.com/reviews/albums/fi ... -paradise/

this one is fun, sloppy pop rock


On their debut LP All Belief Is Paradise, Brooklyn pop-punk band Fits embrace a frantic songwriting ethos in line with Plan-it-X’s early 2000s roster (think Spoonboy with extra amps and a drum kit)


So... The Max Levine Ensemble?

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Postby Eyeball Kid » Tue Nov 28, 2017 12:38 pm

Not that this is unheard of, but today they published a rave of Noel Gallagher's new High Flying Birds album and gave it...a 7.1

https://pitchfork.com/reviews/albums/noel-gallaghers-high-flying-birds-who-built-the-moon/
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Postby Buzz Fledderjohn » Tue Nov 28, 2017 12:39 pm

yeah that is Extremely Pitchfork
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Postby Eyeball Kid » Tue Nov 28, 2017 12:43 pm

Like, they couldn't even bump it up into the upper 7's! That review is an enthusiastic endorsement of the album.
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Postby Poptone » Fri Dec 01, 2017 9:36 am

How the fuck are you gonna shit on album tracks from Kick and not make a giant exception of "Mystify" you dweeb

If no one has tried reclaiming Kick as classic, blame the album tracks, which are vestigial at best. “The Loved One” is the band embarrassing themselves with Steve Winwood yuppie blooze. “Calling All Nations” and “Wild Life” boast identical dueling guitar parts, one of which is tuned to “shred.”
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Postby worrywort » Fri Dec 01, 2017 2:45 pm

watched that over/under thing with noel gallagher and realized he talks like karl pilkington w/ a little more sass
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Postby easy » Mon Dec 04, 2017 1:12 pm

Event: Christmas Eve

The two days of Christmas Eve & Christmas are the ultimate drinking marathon. As with many married people, we’re divided into two celebrations. My family gets Christmas Eve while hers gets Christmas.

Big or small: It’s time for the whales to breach.

Recommendation: Yank those big beers out of the basement. I’m talking Jester King farmhouses, Bourbon County Stouts, and, if you’re a hop-head, start pouring those recently acquired local IPA’s (Tree House comes to mind). Healthy pours and conviviality all around. This is why you have a basement full of beer.


https://oct.co/essays/beer-guide-holidays?utm_source=p4k
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Postby gold and glass » Wed Dec 06, 2017 12:34 pm

hrs trnr
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fuck you and your corporation
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Postby butter » Wed Dec 06, 2017 1:05 pm

Damn, that's some bullshit
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Postby ripersnifle » Wed Dec 06, 2017 7:15 pm

Liz Pelly going in on p4k in her new anti-Spotify piece lol
Best New Muzak

Once upon a time, record labels would invest in artist’s careers. Now Spotify invests in its own original content. Earlier this year the company poured significant resources into promoting “I’m with the Banned,” a playlist and video series prominently featured as a response to the Trump administration’s travel ban (tagline: “When people can’t travel, music will”). Like other social-justice-oriented playlists—“Feminist Friday,” the “Pride” playlists series, and “No Moment For Silence,” created in support of DACA—these editorial additions are Spotify’s way of cynically deploying woke optics and commodified “activism.” Unsurprisingly, “I’m With the Banned” was promoted with a media campaign, subway advertisements, and sponsored content on Pitchfork.

This is not the first editorial partnership between Spotify and Pitchfork. Earlier this year, Pitchfork won the Webby Award for “Best Branded Editorial Experience,” a prize it received for its series “Inside Discovery”—a collaboration with Spotify meant to boost awareness of the “Discover Weekly” feature. The series shows Pitchfork editors (and favored musicians) gushing about their love of streaming—the immediacy! The deep back catalogs! One editor says it helps him keep track of his listening habits, while another rejoices at not having to dig through crates at record shops anymore. Yet another likens Spotify to walking around a music festival, discovering something new at every turn.

What does it mean for “the most trusted voice in music” to celebrate an algorithm as preferable to its own crate digging? What does it mean when the tastemaking humans endorse data-driven machines? What does it mean when the algorithms become cool? 8.4 Best New Algorithm!

The music press’s embrace of Spotify becomes more startling as the platform’s totalizing ambitions materialize. Virtually every music publication now relies on Spotify media players to embed songs within online articles, and websites like Pitchfork and Rolling Stone regularly celebrate their playlists with listicles: “Ten Albums To Stream Now.” “The Five Playlists You Need to Hear This Summer.” A subscription to the New York Times can now come with a Spotify membership; a splash page cross-branding the two platforms hilariously pairs Times sections and Spotify artists: Opinion with “Guided by Voices,” Style with “Perfume Genius,” Arts with “Devo,” and so on. One wonders if these artists are even aware they’re being used to sell the paper of record.

Music writing serves a number of purposes: storytelling, criticism, discovery. Spotify has already established itself as a competitive force of “discovery,” and it soon plans to produce more of its own (surely branded) “storytelling” and original content. With this in mind, and when I worry over the publications, labels, and artists who have (reluctantly or otherwise) embraced Spotify, I can’t help but think of that airport restaurant server who teaches you how to use the iPad, thereby contributing to her own obsolescence. Why is the music press generating value for a platform that in every way plans to eliminate it? And what will become of music criticism in a world without records? Will publications review discovery feeds and write profiles of playlists? What good will criticism be when all of music has coalesced into algorithmically preordained Muzak?

I want to believe that it’s not too late to beat the billionaires and the bots. But earlier this year Spotify signed a lease for fourteen floors at Four World Trade Center. The company's gone on a hiring spree, with plans to add a thousand employees. The new lease costs $2.77 million in monthly rent. And it lasts until 2034.
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Postby ripersnifle » Wed Dec 06, 2017 8:47 pm

https://pitchfork.com/news/caroline-polachek-pulls-out-of-moogfest-2018-over-lineup-announcement/
[...] while privacy rights activist Chelsea Manning is set to give a keystone presentation on “The Future of Creativity.”
steakspoon wrote:sorry if sounds corny fellas but i'll always remember where i was when i heard my first big star song..the internet.
Totally wrote:also to the really creepily obsessed kid frothing NON-US SPORTS GEAR IS A COMPLEXITY-SIGNALING DEVICE FOR AGEING HIPSTER ACOLYTES WHO DOWNLOAD MOANA: I have a lot of friends (and an apartment) in Geelong. Get a fuckin life man.
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Postby loaf angel » Wed Dec 06, 2017 8:51 pm

that pelly article is such a self own

woker than thou bullshit that's gonna continue to unfurl over the next few years.
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Postby grace cathedral park » Wed Dec 06, 2017 8:55 pm

the lack of self awareness or contemplation about how greater market forces have affected their own ability to do effective journalism is something

No. Don't Listen To The Algorithm. Listen To Me Supporting My Friends. Which Will.... Then Be Fed Into The Algorithm?
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Postby Eyeball Kid » Wed Dec 06, 2017 9:05 pm

Christ, that was such a smug fucking read. Was she actually arguing at one point that opportunistic commercialism was less bad if physical objects were being sold?
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Postby freezinseason » Wed Dec 06, 2017 9:07 pm

kinda weird since that algorithmic way of discovering music has been around a long time too at this point. like who knows what my taste would be if i wasn't being recommended stuff by last.fm in 2006.
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Postby loaf angel » Wed Dec 06, 2017 9:09 pm

I scoff at the playlist names but gimme a break
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Postby loaf angel » Wed Dec 06, 2017 9:10 pm

like Pitchfork doesn't have a ton of "the pitch" blog posts revolving around dope tunes to soundtrack #theresistance
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Postby grace cathedral park » Wed Dec 06, 2017 9:13 pm

pitchfork probably influences those lists more than anything else lol
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