Anybody fancy a game of Pitchfork Predictor?



I’m sure as I type the Facebook post they’ve made for this 1998 list is full of ‘OMG why is some rap album number 1 again!!!’ ranting


Marked out to this descriptiopn :smiley:


It’s not a b&S record that often gets that kind of praise and it’s above quite a few records PF have spunked over in the past.

Possibly trying to make up for the 0.8 it got first time around!


Which is funny because it’s the only B&S album I can tolerate :slight_smile:

Anyway, it’s to compare in terms of 1998 rather than other B&S albums I guess, so it’s all relative


Well, it looks like Adore got #40. About 39 spots too low but for them I guess that’s the best that was going to happen. The strangest thing to me is that Pitchfork again named “Apples + Oranjes” as a highlight, when among fans it’s pretty much the consensus weakest or second weakest song on the album (I love it but it’s not a heavy hitter like the ending sequence or “Tear” or others).


That Sunny Day Real Estate album should have been disqualified for the intro to “The Prophet”.


wish I had my digital library at hand. can’t think what they’ve missed out.


Done a number on Jack White there, boy oh boy, sounds like a monstrous turd :smiley:


At times, McMahon’s euphoria recalls a period in the late ’90s when singer-songwriter fare merged with au courant dance music on multi-platinum records like David Gray’s underrated White Ladder .

Looking forward to their Best New Reissue review of the 20th anniversary deluxe edition of White Ladder, finally getting its dues, 'ey lads?


The song is a collaboration between two excellent women, reuniting Monae with Grimes.

A collaboration between two excellent women.

Do they excel at being women? Relative to other women? :face_with_raised_eyebrow:


This is now the “shit we read on pitchfork” thread by the way


Title change, @moderators?



One of those articles where someone starts with a conclusion and spends an age trying to back it up, doesn’t really manage it, but sticks with their original conclusion anyway.

I think Pitchfork did have a certain amount of power back then, but it was more to do with their ability to give a sizeable leg up to certain types of slightly more left-field acts. Best examples are probably the likes of Animal Collective, who I can’t imagine would have garnered the kind of attention they received around S Jam and MPP without sites like PF obsessing over them initially and thus causing the dusty mainstream mags to give them the time of day.

If they panned an artist it didn’t necessarily mean the end of them, most of the albums mentioned in that article were just utter tripe and were deservedly ignored, but there were countless other acts who they gloried in mocking who nevertheless became massive. Take KoL for example, the highest mark an album of theirs (they’ve released six) has received on that site is 5.4. Same story with The Killers.


Implying that the average KoL & Killers fan is a Pitchfork reader


Probably more so than Jet or Louis XIV fans were? Besides, I don’t think either band has had a set unchanging fan base throughout their career - both bands started with a certain indie appeal, I think…kind of.

Thinking about it again, perhaps the more accurate point is that PF did have the ability to negatively influence the success of certain artists but it was more likely to happen to those that owed most of their success to that site in the first place and hadn’t really graduated beyond that.



Pitchfork finally worked out Drake is the rap game Coldplay. Album was panned too. He really is a dull man


I’ve been pretty annoyed by how much Spotify has been pushing Drake at me.
I’ve never played one of his tracks, don’t know why they think I’d care.


Yeah, he’s automatically the face of every playlist etc - they must have payed absolutely through the arse for all that promo. Think the goal was to make it the first ever BILLION streamer and, happily, they fell just short.