Pitchfork and Allmusic

It all started with Sufjan Stevens.

Sufjan Stevens was at the height of popularity when I was finishing high school, having just released the second album in his fifty states project. All of my hippest friends had him in heavy rotation on their iPods, right up there with Radiohead. The next year, in the dorms, I used iTunes's network to view and listen to the libraries of fellow students. It became apparent that Sufjan was among a group of bands whose popularity could be traced back to heavy promotion by Pitchfork Media. It also became apparent to me that Sufjan Stevens was a sort of fraud.

His music was all surface and no substance. That was notable enough, but my real epiphany was the realization that his music's surface catered to the sensibilities of critics and aspiring pretentious white kids everywhere. The elaborate arrangements, unusual instrumentation and hyper-empathetic vocals broke through bored critics palates and bypassed well-rehearsed cynicism. This would be all well and good if most music critics emphasized songwriting/musicianship over the progression of music's sound. Sometime before they actually wrote a review that sounded like a fourteen-year-old having a wet dream, they would have realized that the songs just weren't that great. It wasn't that Sufjan Stevens was bad, he just wasn't the musical genius he got billed as.

In the last couple of years Sufjan has admitted that the fifty states project was a publicity stunt that he never actually intended to carry out. At the end of last year he released his densest, most use-weird-noises-to-cover-a-lack-of-underlying-talent album ever, to an excellent reception by Pitchfork.

Hype is a pretty natural tendency of art criticism, especially when the critics in question are relatively young (when I was finishing high school the mean age of Pitchfork staffers was in the mid-20's). Some amount of self-policing must exist for an organization to produce a thoughtful body of criticism worthy of respect. The "Pitchfork band" phenomena indicated that shiny new, rapidly rising Pitchfork Media was (and continues to be) the most prominent, most irresponsible perpetrator of music over-hype in the industry.

Sometime during my freshman year, I started reading AllMusic. They gave the Queens of the Stone Age respectful reviews, said nice things about Sufjan without implying that he had any real talent, and panned Radiohead's alleged masterpiece Kid A. That last bit caught my attention and it earned my respect, even though I disagreed with their review right up until they backtracked and conceded to the album's greatness last year. In short, AllMusic embodied the contrary, thoughtful kind of snobbery that I saw in myself.

With the aid of dorm broadband, I was downloading music about as fast as I could keep up with. AllMusic provided comprehensive artist bios, discographies and a wealth of internal hyperlinking (genres, similar bands, bands influenced, etc). It's design was ideal for me to rapidly sift through music and investigate and expand my tastes into unknown territory.

It soon became apparent that I faced a dilemma. If I continued to blindly trust AllMusic's reviewers, my tastes would quickly become beholden to and bounded by the tastes and knowledge of a small group of individuals. I had to decide whether or not to sell my soul to AllMusic.

I mulled the decision over for a couple of weeks, but in the end it was an easy choice. I was fresh off my discovery of Sgt. Pepper's Lonely Heart's Club Band. I was eager to develop a taste for the "classic" bands and albums of rock and roll. I never put much stock in individualism and indeed, I'm irritated by the definition and cultivation of "personal taste". Personal taste should be treated as bias that must be filtered out of any final, "true" assessment. There is such a thing as great art in absolute terms.

I sold my soul to AllMusic. And I never looked back.