The Pitchfork Effect

The only thing we like more than discussing Pitchfork are articles about Pitchfork. From the new Wired

It’s hard to pinpoint a single factor responsible for Broken Social Scene’s rise. The band’s talent has 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.

Ryan Schreiber, the site’s editor in chief, reviewed Broken Social Scene’s US debut album, You Forgot It in People, in 2003. He began by lamenting the fact that he was receiving more promotional CDs than he could possibly write about or even listen to, and he acknowledged that he had plucked this record from the slush pile at random. He chastised the group for its gloomy packaging and liner notes (“How could they not be the most unimaginative, bleak, whiny emo bastards in the whole pile?”). Then he conceded that he’d been listening to the record obsessively for months. It “explodes,” he wrote, “with song after song of endlessly replayable, perfect pop.” Schreiber awarded it a score of 9.2 points out of a possible 10. An indie rock star was born.

“That’s when the phone calls started coming in,” Drew says. “The next tour we went on, we suddenly found ourselves selling out venues. Everyone was coming up to us, saying, ‘We heard about you from Pitchfork.’ It basically opened the door for us. It gave us an audience.”

Here’s the whole article, which reveals things you know already (Ryan Schreiber = bearded, Travis Morrison = 0.0), but is worth reading.

Picking on Pitchfork is fun (and easy!), but Stereogum does read it everyday and believes its staff of writers to be talented and good people.

That said, let’s make this fun: Wrongest PFork rating ever? … Go!