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Pitchfork


Brought to you by the music critics at Pitchfork, The Pitchfork Review is a show for music fans and obsessives who can’t wait to talk about the latest releases. Co-hosted by Pitchfork editor-in-chief Puja Patel and Reviews Editor Jeremy D. Larson, this podcast pulls back the curtain on our reviews and scores, dives deep into new music, and gives an expert guide to what’s exciting, what’s great, and what’s just plain terrible.


The Pitchfork Review

Introducing The Pitchfork Review -- the music podcast you’ve always wanted, from the most trusted voice in music. Hosted by Puja Patel, editor in chief of Pitchfork, our brand new podcast launches on July 10th. Subscribe to get episodes right when they drop at midnight.

 

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Introducing The Pitchfork Review

From the upcoming episode “The Revolution Will Be TikTok’d”, Pitchfork Staffer Cat Zhang shows us what it takes to make a TikTok hit—and why the music industry is taking notice.

 

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Teaser: “The Revolution Will Be TikTok’d”

TikTok, the omnipresent fifteen-second video platform, has taken over social media. The app has also changed the landscape of the music industry, churning out chart-topping hits like Lil Nas X’s “Old Town Road” and DaBaby and Roddy Ricch’s “Rockstar” in the process. This summer, following the killing of George Floyd and nationwide protests, activists have co-opted dance and music TikToks in the name of racial justice. But can a supercapitalist app like TikTok really be a force for social change? Listen to this week's episode of The Pitchfork Review as Editor-in-Chief Puja Patel discusses this question, and more, with Pitchfork staffer Cat Zhang.

 

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The Revolution Will Be TikTok'd

On February 19th, 2020, Pop Smoke’s life was tragically cut short, when he was shot and killed at the age of 20. At the time of his death, the rapper was a leading light of Brooklyn drill, the hyper-local scene that had quickly become the premier NYC hip-hop subgenre. With hits like “Welcome to the Party” and “Dior,” Pop had helped reinvigorate interest in New York hip-hop overall. His posthumous album Shoot for the Stars, Aim for the Moon was released on July 3. Listen to this week’s episode of The Pitchfork Review as Editor Puja Patel sits down with Pitchfork Staff Writer Alphonse Pierre and Contributing Writer Sheldon Pearce to discuss Pop Smoke’s come up and legacy, Brooklyn drill and its intersections with policing and protests, and the new album.

 

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Pop Smoke’s Legacy and the Sound of Brooklyn Drill

On June 19th, Bob Dylan released his 39th album, Rough and Rowdy Ways -- his first full length album of original songs in nearly a decade. Throughout his career, Dylan has followed moments of silence with something wholly new. In the mid-sixties, after a motorcycle accident brought Dylan’s creative and popular explosion to a halt, he retreated for a year and a half. Then, he released John Wesley Harding -- a stark and simple album with standouts like “All Along the Watchtower” and “I Dreamed I Saw St. Augustine.” Thirty years later, Dylan released Time Out of Mind, after years of doing mostly folk cover albums. Time Out of Mind, produced by Daniel Lanois, had an atmospheric and dark quality never heard before in Dylan’s previous work. Similarly, Rough and Rowdy Ways sees Dylan breaking new ground again. Pitchfork Editor Puja Patel is joined by Staff Writer Sam Sodomsky and Contributing Editor Andy Cush as they break down Dylan’s comeback albums and discuss his most recent album.

 

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The Endurance of Bob Dylan’s Rough and Rowdy Ways

Listening to new music is what we do all day here at Pitchfork. But it isn’t always easy. Sometimes (OK, a lot of the time) it can be tempting to just throw on an old favorite rather than dig into something fresh. On this week’s episode of our podcast, Pitchfork Editor Puja Patel is joined by Reviews Editor Jeremy Larson to talk about the science behind why it’s difficult to engage with music you’re unfamiliar with–and also why it’s worth it.

Follow PitchforkRadio on Instagram and Twitter to find out more about Pitchfork's audio/podcasts.

 

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Why Do We Even Listen to New Music?

British singer/songwriter Lianne La Havas recently released her third album, a self-titled collection of songs about love, heartbreak, and independence. Pitchfork editor Puja Patel recently spoke with Lianne at home in London over video chat for Pitchfork’s Listening Club. They talked about the nostalgia of breakup songs, staying true to yourself, Lianne’s cover of Radiohead’s “Weird Fishes,” and the advice she took from Prince.

If you want some help finding new music, leave us a voicemail at ‪(917) 524-7371. Tell us a story about what's going on now in your life that you need a soundtrack for. We’ll take a listen and pick a few to feature on an upcoming episode, where Pitchfork's music critics will recommend you something new.

 

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Lianne La Havas's Bittersweet Memories

By this time of year, there’s usually consensus around what the “Song of the Summer” is. But 2020 isn’t like any other summer in so many ways, including the pop charts. The Billboard Hot 100 has been all over the place for the past several months, with a new artist rising to the top most weeks, including Megan Thee Stallion, Cardi B, the Weeknd, Lady Gaga, and DaBaby. In this episode, we’re going to break down what makes a song of the summer and take a look at our favorites from 2020.

 

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Songs of the Summer of Our Discontent

A few weeks ago we launched the Pitchfork Review hotline, asking our listeners to call in if they want help finding music to soundtrack their lives. Thank you to everyone who’s called in. It’s been pretty great going through all the voicemails that we’ve gotten in from all over the country and hearing a little bit about what’s going on with you. In this episode, we answer requests for music to get over an ex and music for falling in love, and we also share our personal love and heartbreak stories.

If you want to leave us a message to get a recommendation of your own, give us a call at (917) 524-7371.

 

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Pitchfork Request Line: New Love & Major Heartbreak

After its launch a few weeks ago, the Pitchfork Request Line is still ringing off the hook with listeners calling in for recommendations of music to soundtrack their lives. This week, we’re taking requests from an aspiring metalhead, a road tripper making a move from Los Angeles to San Francisco, and someone who just wants to get the hell out of 2020, if only for the length of a song. 

If you want to get a recommendation of your own, give us a call at (917) 524-7371 and tell us a story about what’s going on in your life right now. 

 

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Pitchfork Request Line: Road Trips & Campfires

This week brought new albums from a pair of beloved artists who emerged a little over a decade ago as purveyors of artful indie folk: Fleet Foxes, who announced their fourth full-length Shore on Monday and released it 24 hours later, and Sufjan Stevens, whose eighth solo album The Ascension arrives today, September 25. Each has navigated listeners’ weighty expectations in their own way: Fleet Foxes by eschewing promotion and embracing the vibrant simplicity of their early songwriting, and Stevens by avoiding the character sketches and personal narratives of his past albums in favor of broader questions about the state of the world. On this episode, Pitchfork Editor Puja Patel is joined by Features Editor Ryan Dombal and News Editor Matthew Strauss for a discussion of both albums and the artists who made them.

 

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The Quiet Return of Fleet Foxes and Sufjan Stevens

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