Pitchfork's end-of-the-summer experiment, a global vote called "The People's List", resulted in a final list that was unsurprising to most and enraging to others. PopMatters examines five things we can take from this list, not just about Pitchfork but about contemporary indie music as a whole.
Note: This piece flows from a conversation I participated in with my fellow PopMatters writers and editors. I thank Timothy Gabriele, AJ Ramirez, Alan Ranta, John Grassi, Chris Conaton, Zach Schonfeld, David Bloom, and Sarah Zupko for their help. I also thank AJ for his idea to have me write this piece.
As an avid fan of making lists, I participated in Pitchfork’s “The People’s List” experiment, the results of which were released last week. If any of you have read past lists I’ve written for PopMatters, you’ll know my choices tend to be the opposite of what people expect, and what ended up becoming my top 85 albums from 1996-2011, the current length of Pitchfork’s existence, reflects my penchant for bizarre picks. You won’t find many lists that include critically reviled albums like Oasis’ Heathen Chemistry amongst modern classics like LCD Soundsystem’s Sound of Silver. While awaiting the results of the poll, I really didn’t think much about the list. I knew Radiohead and Animal Collective would likely dominate, since the participants would almost universally be Pitchfork readers influenced by the e-zine’s opinions. But upon I seeing people share their lists and thoughts about the list overall via Twitter and Facebook, some criticisms began to arise that were definitely worth considering.