The Pitchfork Review
In December, online music mecca Pitchfork turned against everything it built its brand upon for the last 17 years—quick access, easy consumption, and “Next Big Thing” taste-making—and launched the publishing equivalent of a dinosaur: a print quarterly. The idea of a digital entity spinning off a long lead-time publication openly counteracts everything we’ve been led to believe about the state of music journalism but even more against the grain is focusing a large portion of content on
The buzz cycle be damned: among the 160 pages of The Pitchfork Review’s inaugural issue is an ode to the music weeklies of yesteryear (very meta), an excerpt of a book retracing the birth of trailblazing hip-hop label Delicious Vinyl, and a biographical essay on 60s soul legend Otis Redding. “We wanted an opportunity to give some pieces a second life, one that won’t be lost to Google searches and Twitter archives,” the staff notes in the issue’s forward. “And we also think this format is the perfect environment for presenting new writing and visual content that stands the test of time.” Something that can’t be deleted at the tap of a finger? How subversively innovative.