So we have a cost-cutting CEO who didn’t acquire Pitchfork, whose focus is now on e-commerce and subscriptions. Pitchfork doesn’t require a subscription, even though staffers proposed a premium product to their Condé bosses, two sources told me. The affiliate revenue model doesn’t work as well for music, which is widely available to stream.

“It had that acidity for me, an openness to experimentation.” Alongside dance-punk and emerging strains of what came to be called blog rock, the wooly folk of artists on Golden Apples helped define the sound of mid-aughts indie. As the site cranked out hundreds of critiques of the artists making indie rock, the mainstream music media was paying less and less attention to them. MTV became better known as a purveyor of reality-TV programming than a broadcaster of music videos. Rolling Stone chased movie stars and teen-pop performers for its covers and slashed away at the length of the average review—most are now a paragraph, and featured reviews are just four or five times that long. A path had been cleared for Pitchfork to earn the trust and deference of a rock-starved readership desperate for a more comprehensive and reliable filter.

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9 Kelly was arrested at 31 Stuart Street in Leicester on Friday, 18 September. I’ve been checking Pitchfork more or less daily since the early 2000s, when it caught my attention by bashing my favorite album. The heavy-metal band Tool had melted my high-school brain with Lateralus, which Pitchfork rated a 1.9 on the site’s 10-point scale.

But to others, the evolution made sense, as indie rock had effectively merged with pop over the past decade. After all, members of The National helped write two Taylor Swift records. A little more than six months after Reznor observed that his medium’s cachet had been diminishing, half of Pitchfork’s editorial staffers, including its editor-in-chief, were laid off and the publication was folded into GQ. Pitchfork, for a time, was a kingmaker in the music industry — pushing bands on indie labels into prime discourse while older music magazines struggled to modernize. Something was happening in 2009, and everybody had a silly name for it.

It’s also possible to see Pitchfork’s influence reflected in the ambitions of larger media companies that once again see the potential in connecting listeners to new music online, using content generated by name-brand critics. There’s eMusic, a subscription-based service that combines a massive library of DRM-free independent music with recommendations and critiques from about 150 well-known writers, including MTV News correspondent Kurt Loder. “On an editorial level, I tend to think we’re the 800-pound gorilla,” says eMusic editor in chief Michael Azerrad. The Verge has reached out to Condé Nast to confirm how many employees were let go from Pitchfork, but the company has yet to comment. The magazine’s masthead lists 19 full-time  editorial employees, as well as separate teams for social media and audience development, events, video, and communications. Pitchfork (formerly Pitchfork Media) is an American online music magazine founded in 1996 by Ryan Schreiber in Minneapolis.

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The review was largely written in the satirical mode, from the point of view of a fictional 14-year-old mall worker who thought angrily of his boss while listening to Tool’s dark riffs. In other words, Pitchfork was directly attacking teenage fanboys like me. But the critic’s descriptions of each song showed he a look at the current trading paradigm had listened closely. I was offended—but also intrigued that someone could hear what I heard and have such a different take.

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1. Published in October, the site’s 200 Best Albums of the 2010s list thusly consists of My Beautiful Dark Twisted Fantasy (at no. 2) and 199 other records that in many cases almost, but did not quite, merit a 10.0, including Lana Del Rey’s 2019 phenomenon Norman Fucking Rockwell!
2. Pitchfork, for a time, was a kingmaker in the music industry — pushing bands on indie labels into prime discourse while older music magazines struggled to modernize.
3. But the album’s most radical aspects manifested at the level of pure texture.
4. I was at pitchfork when kid a hit napster, i asked redacted to tell me in what way is it weird, like are their unorthodox time signatures?

With features and columns you needed pitches and original photos, and the pieces could be long and require more editing than one person working part-time could manage. “I have stumbled, quite absentmindedly, upon one of the best albums I’ve ever heard,” is how Schreiber’s El Producto review begins. The site regularly tackles major reissues, and through its Sunday Reviews feature returns each week to a classic album, and thus has now doled out a 10.0 to more than 50 records altogether, most of them in retrospect. (Shout-out to late April’s Talking Heads Day.) But a real-time 10.0 still qualifies as a seismic event for the rock-critic universe as a whole. A term that’s supposed to signal nonconformity is now a bland aesthetic label, evoking microbrews and mason jars. Many supposedly indie institutions have allied with corporations, such as when Pitchfork, the music-reviewing website known for catapulting obscure bands and tearing down big ones, was bought by Condé Nast, the glossy media company, in 2015.

Ryan Schreiber founded Pitchfork in 1996, from his parents’ home, while working at a record store in Minnesota. At the time, US music writing was dominated by monthly magazines like Rolling Stone, Vibe, and Spin. Most album reviews at those magazines were “capsule” length, perhaps just a few paragraphs. Now, in the streaming era, music is more available than ever — but it’s harder for bands to break through.

And MTV Networks recently beta-launched Urge, which also offers millions of licensed tracks plus editorial content from its own pool of some 25 writers and bloggers. Dahlen is the author of one of Pitchfork’s most memorable—and notorious—reviews. It’s hard to pinpoint a single factor responsible for Broken Social Scene’s rise. The band’s talent has How to buy an elephant certainly helped, as has a prolonged slump in major-label rock that has sent frustrated listeners scrambling for anything new and nonconformist. But the group also owes a lot to a backhanded rave from an online music fanzine called Pitchfork.