Internet Bro

The Reflektors are in town for a few shows at Barclays Center, so we asked you to tell us (and them) which Brooklyn act they should cover. Most likely they’ll do Velvet Underground or Talking Heads or some other band more closely associated with Manhattan, which is allowed (I GUESS), but we gave you ten exclusively Brooklyn options from which to choose. Since the first Arcade Fire show starts in a few hours, here’s the final tally…

Would’ve pegged more of you as Neil Diamond fans. Also we forgot to include the Fat Boys. But thanks for voting! I’m gonna email this page to Win Butler right now. Your best and worst comments are below. Let’s meet back here Sunday for the VMAs.


#10 marko | Aug 18th Score:28

But the monogenre is the sound of the future!

Well that or KIX.

Posted in: Taylor Swift – “Shake It Off” Video
#9 Scott Lapatine | Aug 18th Score:29

You missed this:

Posted in: Taylor Swift – “Shake It Off” Video
#8 ifeelpretty | Aug 18th Score:30

They are both in 4/4 in the Key of F and hit some of the same notes. To me thats not much of a similarity.
The Tame Impala song is F – C – Gm and the Argentinean one is F – Bb – C. Those might look similar on paper but the feel is totally different. Ending on that Gm (the ii of the key) gives the Tame song a beautiful sense of longing and unrest. The other one lacks that because it’s based on the 3 major chords in a key absolutely no emotional unease/conflict (can be generally a great thing too, see every Ramones song). Put one of these in a different key and the similarities would vanish.

Posted in: Tame Impala Accused Of Plagiarizing Their Biggest Hit From Argentine Pop Star
#7 crania americana | Aug 18th Score:30

Some people want to fill the world with silly love songs, and some people write silly love songs about fucking someone hard on the sink whilst avoiding sullying expensive furs with semen. The point is: it’s not about the specifics, it’s about the love; and that’s why this collaboration makes sense.

Posted in: Kanye West Working On Album With Paul McCartney?
#6 Spikelee3000 | Aug 18th Score:31

Not similar enough to warrant any legal action whatsoever. But to his credit, that Pablito guy knows how to rock a popped collar.

Posted in: Tame Impala Accused Of Plagiarizing Their Biggest Hit From Argentine Pop Star
#5 mickrandom26 | Aug 18th Score:31

Are those tour dates for Pablo Ruiz? Asking for a friend…

Posted in: Tame Impala Accused Of Plagiarizing Their Biggest Hit From Argentine Pop Star

Matthew Marvin Lingo | Aug 18th Score:36

dude no no no do not compare this to Yeezus

Posted in: Taylor Swift – “Shake It Off” Video
#3 rejectedjeffdunhampuppet | Aug 19th Score:37

Why buy anything when you can just tape stuff off the radio?

Posted in: 30 Years Of Music Industry Change In One GIF

Clifton Montgomery | Aug 19th Score:44

I’m really getting tired of Black artists complaining about other races “perpetuating”, “stealing” (or whatever) Black culture, Hip-Hop culture, etc. We don’t own it! The minute we started doing the same things Taylor Swift was trying (and failing) to do in her video in our OWN videos, for PROFIT, for FAME, for EXPOSURE we gave up the rights to it. What, its ok if a Black artist twerks in a video, or has on gaudy-ass gold earrings and necklaces simply because they’re Black? NOPE. Taylor Swift is not trying to steal or perpetuate anything. Hell, seems to me she’s trying to say ‘Sorry, this just ain’t me! I’m just an uncoordinated White chick. Deal with it.”

Oh, and it is possible to like certain things in a culture but be afraid of some of its people. This all or nothing mentality is just ridiculous.

Posted in: Earl Sweatshirt Says Taylor Swift’s New Video Is Offensive, But Hasn’t Watched It Yet (UPDATE: And Mark Romanek Responds)



Shawn Douglas | Aug 18th Score:-10

Bad Stereogum! No biscuit. Create exaggerated headline, presumably to get more page views. A more responsible headline would say roughly “Aphex Twin Teases Potential New Album SYRO Via Deep Web”.

News is exciting. Information is encouraging, especially if there is a Warp Records link. Headline is misleading; this is NOT an official release announcement.

Posted in: Aphex Twin Announces New Album SYRO Via Deep Web

Conner Oburst | Aug 15th Score:-11

as in only homos would like it

Posted in: Album Of The Week: FKA twigs LP1
#3 boozm | Aug 20th Score:-12

“Britt Daniel loves Chipotle, and dammit, so do I. Chipotle.” – Ok that last sentence wasn’t there, but it may as well have been.

The article seems to start after the embedded video.

Posted in: Merchants Of Soul: A Trip To Chipotle And Outside Lands With Spoon
#2 eighteenk | Aug 20th Score:-13

Is this fucking sponsored by Chipotle or something?

Posted in: Merchants Of Soul: A Trip To Chipotle And Outside Lands With Spoon
#1 miss_merboy | Aug 15th Score:-28

dude is straight, white (boy is he EVER white, you can not get any more white than michael cera), cisgender, and rich. you know who would have more interesting things to say artistically? LITERALLY ANYONE ELSE. i’m not saying he couldn’t release this wet fart of an album, i’m just saying it distracts from other people who, you know, deserve attention.

Posted in: Q&A: Michael Cera On His Surprise Album True That


lcwyhf | Aug 20th Score:4

I hope this gets editor’s choice, I don’t think any comment this week can even come close…

Posted in: Merchants Of Soul: A Trip To Chipotle And Outside Lands With Spoon
Comments (49)
  1. wow i beat the homophobe. I feel accomplished.

  2. Quantitative evidence: questioning fast food sponsorship is worse than homophobia.

    Lesson learned, you insensitive son of a bitch.

  3. The editor’s choice section has clearly jumped the shark

  4. Time to discuss the p4k best of the decade so far lists!

    I mostly thought it was pretty dead on, although James Blake’s self-title probably could’ve been a little higher, and The King of Limbs could’ve made it on there too (very very underrated album imo).

    Most mysteriously, where was Helplessness Blues??


      First off, it made me think of what my top albums of the decade so far would be. The obvious metric is seeing what my #1 albums were from each year, which was: Kanye, Destroyer, Chromatics, MBV, and The War on Drugs. Out of all of those, I think Destroyer earns #1 in my book.

      So in 2011, Destroyer actually hit #2 on p4k’s list, second to Bon Iver – Bon Iver, Bon Iver. Yet, on this decade list so far, Bon Iver is #27 and Destroyer is #16. I never really cared for the Bon Iver record, but I was curious as to why Destroyer didn’t crack the top 10. I did a tally of all the individual writer lists and even though Destroyer appeared on only 6 of the personal lists, it was the #1 pick for FOUR of the six (#3 for Mark Richardson and #13 for Ex-S’gummer Brandon Stosuy). Anyway, Destroyer deserved to be higher, especially when considering…

      Deerhunter at #3 ?!?! First things first, I love Deerhunter. I think it’s a solid pick, but it’s curiously really fucking high up on the list. Especially considering it’s surrounded by Kanye, Kendrick & Frank Ocean (all deserved Top Ten picks). I don’t know, I’d of swapped Deerhunter and Destroyer. “Kaputt” is definitely better than “Lonerism” and “Modern Vampires of the City” (I’m a huge fan of both those albums too, btw).

      Biggest highlight? Seeing “Cosmogramma” at #19 with a solid foot in the Top 20. “Until The Quiet Comes” helped me realize how phenomenal “Cosmogramma” was (I’ve always been a “Los Angeles” FlyLo fan). Still, good to see FlyLo ranked so high.

      Also, I like that they have “The Seer” ranked well higher than “To Be Kind”. That’s been my only complaint with “To Be Kind” is that I can’t help but think “The Seer” is better every time I hear it.

      OK, enough from me. Everyone else get in here so we can yuck it up this weekend!

      • How did you find the individual ballots?

        And I was surprised by Destroyer too but I figured P4K was gonna surprise us more with the order than what’s actually included (though were Fleet Foxes or Janelle Monae on the list??). “Kaputt” also turned some people off because of how seemingly reliant on its influences it was, and some people construed it as smooth jazz (actually that was my initial reaction… now I love it). Either way it’s not a very “trendy” album like MBDTF or Kendricks or Franks.

        With Deerhunter I was stoked. I’m not sure it should be that high either but I’m P4k’s still supporting them. I relistened to the record today and it’s really beautiful.

        “To Be Kind” is missing a song with Karen O thus it’s righteous for Swans to be higher. And I was glad about FlyLo too along with the best singer-songwriter of this generation Joanna Newsom. HOOM’s my personal 2nd best of this decade but I get how it’s not the coolest album so it surprised me to see it at 18 along with Benji at 9.

        As for the the singles list… there were way too many ironic (or unironic idk) mainstream/meme-rap pickings which made me realize how much better the last decades were. With that said the top 20 was on point.

        • The individual ones are all in The Pitch section.

          • Thank you! Also (unrelated) can someone tell me what’s the fuss about Real Estate? I know they make pleasant chillax music but they charted quite highly on both lists I feel like I’m missing out on something.

      • I was also very surprised to see Bon Iver not even crack the Top 25, despite getting a 9.5 and was basically all they talked about all year. I def preferred Kaputt too, listening to “Bay of Pigs” still gives me chills. Such a monumental album.

        I was actually thrilled to see Halcyon Digest so high up. Next to MBDTF, its by far my favorite album of the decade. I actually give the vinyl as Christmas presents to friends every year.

        My biggest surprise was Girls – “Father, Son, Holy Ghost” at #71. I still love that album so much. It got a 9.3 too which makes it more surprising. I enjoy Waka and Future, but how can those two crack the Top 50 and not Girls? Also – no Fleet Foxes AT ALL. Did they just forget about them?

        • Also – I honestly still don’t get their obsession with Grimes. Sorry guys… Top 15 album and #1 track? I think she’s a super cool girl and her music is absolutely solid. But I just feel their obsession with her is over the top.

          I’m thrilled I finally get to see her at FYF tomorrow night to see what the hype is about. I hope I fall for her like so many of you have

          • Yeah, I like Grimes a lot and dig Visions, but I honestly never though the album recovered post-”Oblivion.” Like, the other songs are good, but after the back-to-back of “Genesis” and “Oblivion,” nothing else is going to look as good.

          • I like Grimes, but to me she’s still someone with budding potential who hasn’t fully proved herself yet. I have high hopes for her in the future but I really don’t think Visions is a very good album and while I like “Oblivion” a lot, it’s not particularly profound or important. It’s really mysterious to me that pfk is trying to uphold “Oblivion” as some profound feminist statement bc honestly there have been far better songs with feminist undertones over the past few years (see: Robyn’s Body Talk, Beyonce.) But I dunno.

          • I definitely don’t get the Grimes thing. Pretty much my main takeaway from both lists.

        • Both Girls albums not making the top 20 is ridonkulous.

      • The most unexpected thing is that Drake had the highest placing album of 2011 on that list.

        I’m pretty sure a huge shitstorm would have probably occurred if that had happened on the the original 2011 year end list.

      • So 2010 is still the best year so far in my book. Teen Dream, Before Today, Halcyon Digest (my favorite of the decade so far), MBDTF, This Is Happening, and Cosmogramma all in the top 20.

    • I should maybe go look at that album list sometime. I subconsciously refused to go back after their best 50 music videos list didn’t include Explosions in the Sky’s “Postcard from 1952″. I don’t want to be a “hater”. Pitchfork, like anyone and anything else is allowed to enjoy and praise whatever they want. But ignoring a masterpiece like that video just tells to me that they not at all drinking from the same well I find sweet. So, I’ll just dig my own water.

      Seriously, watch this video and tell me it isn’t the epitome of what music videos and music in general were made to achieve. A perfect combination of both art forms which come together to make something larger than the sum of its parts. This here is the fountain of everlasting life. Drink from it and be filled.

      • Whoa. It’d been too long since I’d seen that video.

        Every scene capturing fleeting moments during the most fleeting time of anybody’s life: childhood. The ending with the mother breathing life back into the bubble. Of course Explosions bringing The Feels in tons with their music as always.

        Thanks Zayin! Now I’m all verklempt!

      • For the record, probably my favorite video in the past 5 years is Ramona Falls “I Say Fever!” It is better every time I watch it.

    • I used to find myself agreeing with Pitchfork fairly often but these lists have just confirmed for me that our tastes have been going out of alignment for quite some time now. They confirm that Pitchfork are primarily interested in art-pop or indie-pop or whatever you want to call it, and to a lesser extent hip-hop and radio pop. There’s not a single hard rock, punk, or metal album in the top 25. And the only metal album on the whole top 100 is Sunbather. Give me a break.

      For all the supposed hype around an emo revival, not a single emo album on the list unless you want to include Waxahatchee and/or Cloud Nothings under the emo umbrella.

      • “There’s not a single hard rock, punk, or metal album in the top 25.”

        It’s really a mixture of all that and then some, but Swans?

      • In case you didn’t see, you might want to check out Ian Cohen’s solo Decade review. Sure, the guy can be sometimes insufferable, but he had some really cool things to say about TWIABPAIANLATD’s “Whenver, If Ever” in addition to the rest of the emo revival.

        • I’m not really sure what he means by The World Is A Beautiful Place being “the first band big enough to fill” some sort of punk/hard rock “void” in indie rock. Whenever, If Ever is a fine record, but that void is non-existent, and as such, it seems weird to refer to The World Is… of all bands as some sort of poster children for a supposedly underdog sound.

          • I don’t think you’re understanding him correctly, or at the very least I understood him differently. He’s not referring to “some sort of punk/hard rock void,” he’s referring to a very specific subgenre of punk, an aesthetic/culture that had been absent from publications like Pitchfork for over a decade–earnest suburban teenagers playing emotive, unpolished guitar rock for other teenagers in churches, basements, and VFW halls. Y’know, emo. In Pitchfork’s early days it was not uncommon to read reviews for bands like Sunny Day Real Estate, Mineral, Jawbreaker, and Jimmy Eat World. I hadn’t yet discovered Pitchfork, but as an earnest suburban teenager (in New Jersey, no less), that was my shit.

            Around ’02/’03, “emo” became a mainstream phenomenon and any rock band with a histrionic singer got slapped with the tag to the point where the term became meaningless and the whole thing collapsed in on itself a few years later. The term “emo” went from being a joke (which it really always has been) to anathema. Cool-kid revisionist history maintains that the garage rock revival was the last significant movement in rock music but that’s bullshit. Kids I knew listened to The Strokes and The White Stripes, but those were outliers. In high school, the popular rock bands were The Used, My Chemical Romance, Fall Out Boy. I kinda jumped ship around this time. Chronologically, Thursday and Brand New were probably the last bands from that “scene” that I really loved, and then I bought OK Computer and my whole musical world exploded.

            Thing is, none of those bands I mentioned really sound like any bands that have been branded with the term “emo” at any other point in time, but because of their association with the word, anything resembling emo disappeared from major music publication coverage. But there have never stopped being bands that sounded like Sunny Day Real Estate and Cap’n Jazz playing in churches, basements, and VFW halls, at least where I live. It just went back to being a very localized, underground, grassroots thing and slowly grew over time again.

            What Cohen is saying is that TWIABP seemed to be the first band from this scene in years to have the opportunity, talent and confidence to make something that could vie for the attention of the elite indie circuit, and that it sort of opened the floodgates for bands like The Hotelier and Joyce Manor to get the attention they’ve received since.

    • Is anyone else like kinda surprised that neither album released by The National since 2010 is on this list? I would think “High Violet” would at least break the top 100 (that one would be in my top 20). And although it may not have had enough time for everyone to digest fully, I think “They Want My Soul” should’ve been on their too. It’s just fantastic.

      War On Drugs should’ve been higher and it’s kind of crazy (to me) that not one but TWO Beyonce albums are in the top 40. Other than that, I don’t

      • Goddammit – hit reply too soon. I was saying:

        I don’t have too many issues with this list.

        • Yeah definetely agree about the National. But for me Transference over They Want My Soul. I was also surprised about the lack of Fuck Buttons, Julia Holter, Parquet Courts, and Nick Cave. All seem like glaring omissions to me.

          My personal #1 would be The Seer, but I wasn’t dissatisfied with it’s placing.

      • Now that I’m reading these comments I’m being reminded of the omissions and weird placements and getting very perturbed. The National should 100% be on this list. Bon Iver should be higher. Beyonce did not release two of the best 40 albums since 2010. Chance the Rapper should be much higher. Ok I feel better.

    • The problem with the lists is that they’re too long, so by the time I get to the end I’ve forgotten most of what was on them and I can’t complain. This is very difficult for me, because I really want to complain.

  5. I didn’t make the top 5. But 2 of the top 5 were DIRECTED at me. So I kinda feel like I made it.

    I didn’t have that much of a problem with PFork’s list. I woud’ve had Titus Andronicus in the top 5.
    Both Girls albums would’ve cracked my top 20

    And, as usual, I don’t get Kanye’s criticial approval. AT ALL

    • Titus Andronicus “The Monitor” is monumental. I had an epiphany with that album not long ago, and it took the album from to new levels of appreciation in my personal collection of music.

      This past May I was sitting in the back of a crowded bus weaving our way north from Mariupol to Donetsk Ukraine. Traffic was slow along the highway since every few miles the military had roadblocks set up where the army was searching vehicles for foreigners that they expected were involved in agitating the precarious political situation in Eastern Ukraine. By this time there were already armed separatist groups taking government buildings and blocking off towns in the region. To my right was a companion of mine with his face pressed up against the curtained window, to my left was an elderly Ukrainian woman with a large bag in her lap filled with bed sheets. We quietly stared ahead of us and swayed in unison as the bus slowly swerved to avoid pot holes. The air was tense and thick with the fear of an impending civil war between the native Ukrainians and Russians. The stench of unwashed bodies and stale cigarettes gave the mood an acidic flavor.

      I peered through a gap in the bodies and out a window as I watched the country drift past. Rolling green fields lined with narrow bands of trees and capped with wide open blue skies. Several months from now the fields would be yellow with ripe wheat and corn and the scene would transform into the blue over yellow of the national flag. I quietly pulled my earbuds out of my pocket and pressed them into my ears. As we slowed for the first checkpoint, i saw a long line of cars. The car at the front of the line was in the process of being tossed by uniformed men with automatic rifles. Our bus pulled to the side of the road and jostled past the waiting traffic. We had been told that buses were not being searched. With a sigh of relief we discovered this to be true. I saw several other passengers slouch slightly with relief. I considered who else might be smuggling themselves between cities with us.

      I looked down at my music player and flashed through my available playlists. My finger paused on an album, as if by instinct, and with a few flicks of my finger I started the first track. It began as the silhouettes of armored cars and roadblocks floated by on the other side of the curtained window. The sun baked the soldiers by the side of the road with a warm static. And as the bus accelerated away a voice softly began speaking in my ear.

      “From whence shall we expect the approach of danger? Shall some transatlantic giant step the earth and crush us at a blow? Never! All the armies of Europe, Asia, could not by force take a drink from the Ohio River or make a track on the Blue Ridge in a trial of a thousand years. If destruction be our lot we ourselves must be its author and finisher. As a nation of freemen we will live forever or die by suicide.”

      And then the ruckus tones of Titus Andronicus layed waste to the rolling hills, and the elderly woman next to me was disintegrated into ash. The sky filled with clouds as drums fell from their hanging mass leaving nothing but craters and smoldering loss. The Monitor had arrived and its reckoning would be just and swift.

      • Thanks for that. Incredible story and well written. Although many critics laude that album I honestly don’t think it gets ENOUGH praise. It’s everything an epic album should be. When the band erupts after about 15 “you’ll always BE A LOSER” repeats and the drums start to thunder my heart leaps out of my chest EVERY SINGLE TIME. I scream at the top of my lungs and I beat my dash like a rented mule. And now that I read your post I want to revise my “top 5″ comment and say what I really wanted to say. This is my #1 album of the decade, hands down.

        I am 48 years old. I have been a music junkie since I was 12. I’ve done most of the old skool “phases” Classic rock, Punk, Funk and Soul, Metal, Grunge, Techno, Prog, Indie (so many variations on that theme it’s mind-numbing) Hopefuly without sounding TOO pompous I’ve listened to just about everything. And when a band can make me feel like I did when I was 14 and listened to London Calling or how I felt when I was 17 and I was listening to For Whom the Bell Tolls or when I was 24 and listening to Head Like A Hole………well……that artist has accomplished something.

        The Monitor makes me feel like a teenage boy. Screaming at the top of my lungs. Screaming with anger, with happiness, with frustration..just fucking SCREAMING. Like punk rock should make you scream.

        Next to The Wrens Meadowlands this is my favorite piece of recorded music.

        • Hey, what was up with P4k’s lukewarm response to Local Business? Yeah it wasn’t The Monitor, but it was still in my top 10 for the year, and it was still a fantastic and greatly written record. I think it deserved BNM, but they gave it a meager 7.0…. Whats with that?

          • I can’t listen to Local Business. I’ve tried and tried. The Monitor is so fucking huge on every conceivable level apparently I’m incapable of listening to anything else they do. Which is really stupid. But that’s where I’m at. Perhaps Pitchfork is in the same stupid boat with me. A boat that is taking on water and going the wrong way, I might add.

    • The way I see it is along with the gigantic ego that seeps through the music there’s an absolutely perfect balance between the rapping and the beats. The production temporarily broke hip-hop out of the loop-based genre it had been in for so long. Everything blends together seamlessly to make it one of the musical hip-hop albums ever created and nearly every track breaks a new path in the genre (or at least in the mainstream). Even the posse-cut “Monster” is unique for it’s off-kilter beat and Justin Vernon’s vocals. And the album is really well-sequenced (while being 70-freaking minutes).

      • I know, right? Titus Andronicus Forever!

      • Oh sorry I was responding to the “I don’t get Kanye’s criticial approval. AT ALL” part… But the Titus andronicus record is in my top ten too :) No way I could top your story though

        • I know man. I’m just joshing with you. I knew what you were really referring to. And thanks for addressing it, because I’ve also been struggling to find answers to the great Kanye conundrum.

          I am just baffled by the near unanimous critical love for Kanye. I mean, I get and respect what you are saying here about BDTFantasy being some sort of high point in mainstream rap’s story arc, but I have a hard time seeing it as anything other than just a really well done mainstream rap album. But Kanye’s ego is poison to the music. I mean, that rapper-as-god persona is a 15 year old cliche. There is nothing original going on there, and it is SO Imbedded in the music. It’s the Hip Hop equivalent of the mainstream country songs that talk about trucks and tall grass and base the song around a catch phrase in the chorus after the drums drop out. Hip Hop music needs to move away from this formula of lyrics and theme if it is going to move in a vitalizing direction. I’m afraid the overwhelming praise of this album has actually damaged the evolution of this genre for years to come. Perhaps we will get better production standards out of the transaction, but what we are going to get along with it is an infinite tide of try hard copy cats riding the same stale rap god themes we have been seeing for decades now.

          There was a glimmer of hope in recent years as people have started adopting hip hop styles and mixing them with other genres of and sounds. And art rap for all it’s eye roll inducing desperation really deserves to be encouraged, simply because it is breaking out of this mold and finding new territory where other artists can follow and make it more accessible. But yet these efforts are consistently panned by publications like Pitchfork, and Kanye is heralded as king eternal. It is almost like Pitchfork wants hip hop to stagnate.

          • Haha it’s cool I think part of it is hype. I mean I love the album and it’s definitely more accessible than a lot of other “acclaimed” records but I think the critics were a bit overly-ecstatic that a mainstream artist came out with something with legitimate artistic value (and with something that’s genuinely well thought-out and crafted).

            The album is no doubt disturbingly egomaniacal but I think that’s part of what makes it so fascinating. Granted if you’re not interested in Kanye’s shenanigans you’ll find much of the album vulgar and hedonistic but I’ll take the excess and opulence over simple braggadocio. You’re right, the ego is the music. The production is dense and varied; Kanye clearly spent a lot of time and money and producers perfecting this thing. Even then, MBDTF is already way more soulful, self-aware, and endearing than most rap albums for the song “Runaway” alone. I would argue that his character is part of what makes that song so heartbreaking. Closer “Lost in the World” is also wondrous.

            And I’m not on board with the country comparison (though it is funny). Kanye tackles way more themes — even if they are dark — and the textures/sounds/structures are far more complex and daring than most mainstream country songs. To say Kanye falls into the typical stale rapper trap would be ignoring almost every song on the album.

            I agree however that most hip-hop artists should move away from the “I am a God” lyrics that plagued much of Yeezus. Sure praise of this album may badly influence others but it doesn’t mean such a meticulously crafted work should be criticized. Lyrics aren’t the strong point of MBDTF, but I’d argue that they are his strongest yet. Songs like “Power,” “All of the Lights,” “Devil in a new Dress,” “Runaway,” “Blame Game,” “Lost in the World,” and “Who Will Survive in America” deal with a lot more than just the godliness of Kanye.

            Also I agree that P4K lobs a lot of praise on some backward-thinking (lyrically) rap albums. Also can you give a few examples of the art-rap that P4k panned? I’d like to check them out if I’m not familiar with them.

            I’m on my phone so I likely have many errors sorry

        • I rarely feel old when it comes to music. But Rap makes me feel old. I simply don’t get the appeal.
          It’s probably because at my heart I love perfectly constructed pop music. And rap just isn’t well constructed in that manner. Melody is thrown to the wolves. And the obligatory “guest” vocalist injected into many rap songs offends my delicate pop sensibilities. LOL

          Sometimes it’s just that simple. I can’t get past the “rapping”. Just like I can’t get past guttaral vocals in extreme metal. I just shut down when I hear it. There’s actually tons of production stuff in hip hop that I absolutely love. The beat sequencing Kanye uses in conjunction with other instrumentation is unreal. But the second the actual rapping begins….I’m done. I’ll buy R&B records and be really into it and then in the middle of the album a quick rap will be thrown in and that album is done for me.

          Some people want to turn this into a racial thing. And that’s a crutch argument, at best. I simply like to hear melody.

  6. Not only is the Pitchfork 200 list premature, it also renders a year-end list for 2014 completely anti-climactic. From a cursory glance, it looks like Mac DeMarco’s “Ode to Viceroy” is going to be #1, as it’s the highest ranking song from this year. Unless something better comes out within the next 3-ish months, which is unlikely but possible. But then this list is invalidated!

    I just feel this list is a display of impatience and a way to Pitchfork say “First”. Uh yeah, you’re first, because no other music publication has the silly idea to put out this kind of list in the August before the half-decade ends.

    • “Ode to Viceroy” was actually on Mac DeMarco’s last album which came out in 2012, so it’s not eligible.

      Also, critical opinion changes, especially when it comes to music that’s recently come out. So I wouldn’t assume that anything on this list is a lock.

  7. I enjoyed listening to the top 200 tracks, although there was a lot of questionable hiphop in there (Lil B, Soulja Boy; Seriously?) the overall quality was quite good. Runaway deserved the #1 spot imo, but there you go.

    Here’s a Spotify-list someone on Reddit made if anyone wants to listen:

    Not sure how to do hyperlink here, sorry ’bout that

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