kayo dot represents pitchfork music's indie cred
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here is the relevant section (part of an article about "how to find music online"):
Pitchforkmedia.com Easily one of the most influential music information Web sites, Pitchfork Media has recently catapulted some obscure acts into the mainstream with a single favorable review. Pitchfork was started by former record store clerk Ryan Schrieber, who now employs a small stable of writers with similar sensibilities.
Clap Your Hands Say Yeah! is an indie rock group that had released its own debut album. When Pitchfork’s reviewers gave the CD a rating of nine out of 10, the band suddenly became all the rage. Rock legend David Bowie joined the band on a New York City stage just days after the review, and before they knew it, the band was gracing the pages of national publications like Rolling Stone and the New York Times.
Recently, the site awarded a band called Tapes ‘n’ Tapes an 8.3 out of 10 for their album The Loon. Less than three weeks later, the band became one of the most sought after performers at Austin’s annual South by Southwest Festival, which showcases hundreds of mostly up and coming acts. The band was featured in Rolling Stone’s next issue twice for their performance at SXSW and in the CD review section, where The Loon received three and a half stars.
The homepage of Pitchfork Media is chock full of music news and reviews of the latest releases from established artists like Merle Haggard to under-the-radar acts like Kayo Dot. The staff even helps music enthusiasts decide whether downloading a particular song is worthwhile by rating everything from recent B-sides to singles.
The section of the homepage to pay special attention to is a column located in the right hand corner titled “Best New Music.” Here, you will probably be able to find the next Clap Your Hands Say Yeah! or Tapes ‘n’ Tapes before their greatness is proclaimed in other publications.
Pitchforkmedia.com Easily one of the most influential music information Web sites, Pitchfork Media has recently catapulted some obscure acts into the mainstream with a single favorable review. Pitchfork was started by former record store clerk Ryan Schrieber, who now employs a small stable of writers with similar sensibilities.
Clap Your Hands Say Yeah! is an indie rock group that had released its own debut album. When Pitchfork’s reviewers gave the CD a rating of nine out of 10, the band suddenly became all the rage. Rock legend David Bowie joined the band on a New York City stage just days after the review, and before they knew it, the band was gracing the pages of national publications like Rolling Stone and the New York Times.
Recently, the site awarded a band called Tapes ‘n’ Tapes an 8.3 out of 10 for their album The Loon. Less than three weeks later, the band became one of the most sought after performers at Austin’s annual South by Southwest Festival, which showcases hundreds of mostly up and coming acts. The band was featured in Rolling Stone’s next issue twice for their performance at SXSW and in the CD review section, where The Loon received three and a half stars.
The homepage of Pitchfork Media is chock full of music news and reviews of the latest releases from established artists like Merle Haggard to under-the-radar acts like Kayo Dot. The staff even helps music enthusiasts decide whether downloading a particular song is worthwhile by rating everything from recent B-sides to singles.
The section of the homepage to pay special attention to is a column located in the right hand corner titled “Best New Music.” Here, you will probably be able to find the next Clap Your Hands Say Yeah! or Tapes ‘n’ Tapes before their greatness is proclaimed in other publications.
FuSoYa
Lunarian
I'm not so sure if that's true that Pitchfork makes bands, actually I think it's kind of the opposite. It seems that Pitchfork is the type of site that rates stuff based on its cred - Sunn0))) is an example. What did their last one get, like 8.9? Not to say Sunn0))) aren't cool, but The WIRE and Pitchfork totally suck their dick and it's probably because they're afraid that if they don't, people will think they don't know what they're talking about.
chupe666
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so does this mean you can tour with merle haggard?
it's neat to be mentioned, no?
also, i'm curious to see what pitchfork will give the new OM. i did no sucking there.
it's neat to be mentioned, no?
also, i'm curious to see what pitchfork will give the new OM. i did no sucking there.
deadair
Overly-Cryptic Jake
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azal
love is the answer
Post_Scriptum
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chupe666
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LuminousAether
My name is Distance
in the case of reviewing bands such as ours pitchfork are not tastemakers, they are trendfollowers. for all the more rock-n-roll indie fare they are indeed tastemakers of a sort at least, especially with these new york bands that pop up and disappear all within the span of a year.
http://www.pitchforkmedia.com/article/record_review/142842-kayo-dot-blue-lambency-downward
pitchfork's epic fail at listening to BLD results in a 3.3!
so what does that mean?
kayo dot's not hip enough for pitchfork anymore?
but toby moved to williamsburg and everything!
pitchfork's epic fail at listening to BLD results in a 3.3!
so what does that mean?
kayo dot's not hip enough for pitchfork anymore?
but toby moved to williamsburg and everything!
Baliset
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metaghost
Ghast of the Geist
Honestly, I don't think that in the case of BLD Pitchfork was reviewing from an angle of smug elitism/indie credibility/"i didn't get here first so I have to shit on it", but rather from within an improper contextual framework.
As a pop record, BLD fails absolutely. And no matter his mentioning of Varèse or his intimation of familiarity with Toby's oeuvre, I think that's the context from which the reviewed was judging BLD.
The problem with that judgment is that I don't know if the reviewer is reviewing it for himself or for his readers? Because I can imagine that the average Pitchfork reader might actually want to know how it compares to Grizzly Bear and when they read Kayo Dot is like a Leftist Grizzly Bear they might say "fuck, Grizzly Bear is gay enough as it is."
Still, if you're going to bitch about excessively esoteric and poetic lyricism, you should leave the abundance of alliteration behind in your Victorian Toolbox for Effeminate Prose.
As a pop record, BLD fails absolutely. And no matter his mentioning of Varèse or his intimation of familiarity with Toby's oeuvre, I think that's the context from which the reviewed was judging BLD.
The problem with that judgment is that I don't know if the reviewer is reviewing it for himself or for his readers? Because I can imagine that the average Pitchfork reader might actually want to know how it compares to Grizzly Bear and when they read Kayo Dot is like a Leftist Grizzly Bear they might say "fuck, Grizzly Bear is gay enough as it is."
Still, if you're going to bitch about excessively esoteric and poetic lyricism, you should leave the abundance of alliteration behind in your Victorian Toolbox for Effeminate Prose.
FuSoYa
Lunarian
This same author did a similar thing for Pelican's last album. I think he's a musician and he once sent a demo to Hydra Head and it was ignored.
