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Introducing The Pitchfork Review
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Teaser: “The Revolution Will Be TikTok’d”
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The Revolution Will Be TikTok'd
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Pop Smoke’s Legacy and the Sound of Brooklyn Drill
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The Endurance of Bob Dylan’s Rough and Rowdy Ways
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Why Do We Even Listen to New Music?
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Lianne La Havas's Bittersweet Memories
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Songs of the Summer of Our Discontent
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Pitchfork Request Line: New Love & Major Heartbreak
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Pitchfork Request Line: Road Trips & Campfires
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It’s Time to Take Enya Seriously
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The National’s Matt Berninger on the Music That Made Him
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The Quiet Return of Fleet Foxes and Sufjan Stevens
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Will We Ever See Live Music Again?
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100 gecs and the Mystery of Hyperpop
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Adrianne Lenker Digs Deep
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When Music Becomes Political Protest
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Request Line: How to Deal With 2020
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The Great Year-End Songs Debate
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Afrobeats’ Global Takeover
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The Best and Worst of Everything Else
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The Pitchfork Review: New Season Preview
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The 1975: Being Funny in a Foreign Language
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Taylor Swift: Midnights
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Björk: Fossora
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Best New Music: Alvvays and Special Interest
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Weyes Blood and Dream Unending
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The Best (and Worst) of 2022: Part One
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The Best (and Worst) of 2022: Part Two
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Beyoncé: Renaissance
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2022 in Rap
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SZA: SOS
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Hopes, Dreams, and Predictions for 2023
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The State of Ambient Music
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Kelela: Raven
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Caroline Polachek: Desire, I Want To Turn Into You
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Lil Yachty: Let's Start Here
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Måneskin: RUSH!
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Tár, Elvis, and Music at the Oscars
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The Subversive Power of Fever Ray and Yves Tumor
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Boygenius Interview
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Lana Del Rey: Did You Know That There’s a Tunnel Under Ocean Blvd
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The Ambient Anger of Yaeji’s With A Hammer
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Weed and Music
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Frank Ocean’s Puzzling Coachella Set
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Jessie Ware Reaches Disco Nirvana on That! Feels Good!
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A Conversation with Laurie Anderson, Kim Gordon, and Sinéad Gleeson
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What Does AI Mean for the Future of Music?
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The Best and Worst Songs of 2023 So Far
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Foo Fighters Rock Through the Pain Once Again
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