The Null Device

The Graun writes about The Pitchfork Effect, which is sort of like the Slashdot effect, only rather than overwhelming web servers, it propels obscure indie bands to fame and critical acclaim, on the strength of a single review in one of the new generation of independent music websites like Pitchfork and DrownedInSound. These sites can now make or break a band by word of mouth, not because they are read by many music fans, but because they reach the few passionate enough about new music to be high up the opinion-forming chain; by the time a band filters down to corporate mass media dinosaurs such as NME, and the millions of teenagers of all ages who buy their "indie" uniforms through the mail-order ads in the back hear of a band, it's overexposed and the Pitchfork coolsies have moved on to the next new thing.

But websites flourish precisely because they don't have to worry who to put on their covers, a factor that still makes or breaks magazine sales. They feel more fearless in the face of the music industry because they're not part of the system, says Schreiber. "Publications obviously seem to feel they need to watch their step and not alienate the label or the artist or the publicist or the advertising department, but that means sacrificing a lot of how you wind up feeling about a lot of the records you have to cover. We don't have to do that."

Travis buys plenty of albums from Pitchfork's recommendations, because he believes its reviews. "I trust them because Pitchfork has more independence. It's like the NME used to be, back in the day. These days it has more of an agenda. Like when Conor [McNicholas, editor of the NME] said on national TV that the NME wouldn't put Antony [of Antony and the Johnsons] on the cover after he'd won the Mercury Music Prize - because he was 'too weird'. It's staggering to hear that."

¶ culture dinosaurs hipsters indie media music pitchfork tipping point 1