pitchfork is dumb (#34985859340293849494 in a series.)

all the albums i care about yeah. checked out some others i wasn't that familiar with, and double checked wikipedia - i mean, you couldn't get more cursory. gimme twenty minutes at least!

it would be one thing if these were presented as introductions but the notion that you can "explore" a record in 5 mins is stupid

right

is there an industry-specific reason they haven't pivoted away from video yet

this could be a hint http://16896-presscdn-0-13.pagely.netdna-cdn.com/wp-content/uploads/Innovation-Collection-Media-Kit_Pitchfork-r1.pdf

this is good. and has lots of good links at the end of it.

https://pitchfork.com/features/article/how-a-group-of-journalists-turned-hip-hop-into-a-literary-movement/

i apologize for posting a link to something that i think is good though...

No worries, I'll cancel it out --

A lotta words I don't personally care for in this headline: https://pitchfork.com/features/article/how-wes-anderson-perfected-the-music-nerd-soundtrack/

Wes Anderson: Occasional 60s music user

yeah those sure were a lot of words about almost nothing

he did choose some great songs though, no doubt

I guess it's down to those dusty crates...

the crate-digger soundtrack, a style of music supervision that heightens the movie-watching experience with the thrill of pawing through boxes of dusty LPs at a flea market

Smiths Fans Are “Neurotic,” Björk Fans Are “Open,” Study Shows

https://goo.gl/images/XeobSk

https://www.youtube.com/watch?v=L104LViQeIw

https://pitchfork.com/features/lists-and-guides/great-records-you-may-have-missed-winter-2018/

if they're gonna do this every quarter, i'm not mad. I hadn't heard the Hailu Mergia album yet and it's fucking incredible

https://i.imgur.com/WSDzU3M.png

absolutely meaningless word salad in this elephant man review from 03 made me laugh.

"staggering flaming synth ring"

sounds uncomfortable

those overlooked records list are always good, more stuff I like there than on the BNM list

that jpegmafia album rules

Even adjusting for the "how far out of their ass are they talking" factor, this is pretty wrong:

https://pitchfork.com/thepitch/the-line-6-dl4-is-quietly-the-most-important-guitar-pedal-of-the-last-20-years/

Nah, that piece is otm

As a fan of a lot of the folks mentioned, and a huge gear nerd as well, no it isn't.

metal zone fuiud

yeah it totally isn't, i work at a guitar store, nobody uses Line 6 anymore. EHX & Boss rule the market along with local boutique pedal companies.

The article is about the last twenty years, not “anymore”

local boutique pedal companies is quietly the most important guitar pedeal of the last twenty years

don't have a horse here but what exactly is the objection? it seems like it was sourced and is full of quotes?

Surprised not to see Mary Halvorson's name in that piece; the DL4 is hugely important to her sound. We talked about it a lot when I interviewed her for The Wire.

yeah it's still wrong. Holy Grails, Memory Mans, DD-3's/5's/7's, and Carbon Copys were/are more popular and even people that used Line-6 delays (like Tyondai Braxton and Omar Rodriguez-Lopez) had multiple delay pedals on their boards. the SP-303/404/555 are the defining instrument of the 00s.

local boutique pedal companies is quietly the most important guitar pedeal of the last twenty years

― flopson, Sunday, April 1, 2018 5:19 PM (four minutes ago) Bookmark Flag Post Permalink

no one wants Line 6 anymore, boutique pedals are much more popular across the USA

Yeah, if we're just going off delays, the Carbon Copy was/is way more prevalent.

But, honestly, the idea that the Klon isn't the most important pedal of the last twenty years is just inaccurate.

among the types of acts pitchfork covers? really? who the fuck is using a klon?

anyway the idea that this is about "delays" is obtuse, it's about the emergence/prevalence of compact looping pedals of which the line 6 was one of the most, if not the most, accessible and common.

no way, king of the loopers was the Boss double red guy

Nobody's denying the DL4's influence.

But it would be inaccurate to say its influence and "importance" is greater than the Klon.

among the types of acts pitchfork covers? really? who the fuck is using a klon?

Chris Walla, Britt Daniel, homeboy from the Strokes. . .

travis barker is the most important guitar pedal of the past 20 years

thanks ufo, i'm only going to need a few hours. you will have it tomorrow by 9PM Pacific.

wrong thread, sorry.

no one wants Line 6 anymore, boutique pedals are much more popular across the USA

― flappy bird, Sunday, April 1, 2018 5:24 PM (two hours ago) Bookmark Flag Post Permalink

You do realize that this like arguing that "technically if you add up the combined sales of every record Matador put out in the last 20 years, it's more popular than Chief Keef"

whiney i put boss, ehx, and mxr ahead of your local fuzz craftsman

Are you going to get around to naming the one pedal of the combined dozens made by those three companies that's more influential than the Line 6?

Boss DD-5

Klon Centaur.

So influential that Electro-Harmonix and MXR have done their own versions of it.

And there's probably some Line 6 modeling pedal that tries to emulate it.

people who don't play guitar could not possibly give less of a fuck about the centaur. but they can understand how a pedal makes andrew bird's or tyondi braxton's shit possible.

i'm just imagining trying to explain a mildly interesting overdrive circuit design to the music fan who doesn't play and i'm sweating.

Be that as it may, not calling it the most important pedal of the past twenty years is wrong.

just a thought: maybe the author of the article didn't intend to make the claim that the DL4 was the most important pedal of the last 20 years, but someone whose job it is to make people click on articles decided to throw it in there after reading the Tyondai Braxton quote?

Be that as it may, not calling it the most important pedal of the past twenty years is wrong.

― he doesn't need to be racist about it though. (Austin), Sunday, April 1, 2018 10:33 PM (six minutes ago) Bookmark Flag Post Permalink

i'm sorry, i really want to dig into this. have klon overdrive tones actively influenced music over the past 20 years? are musicians everywhere doing different things because of the klon? i have literally never seen evidence that anyone outside of the segment of people who care about gear have been impacted by a klon.

compared to what looping pedals have done as far as letting bedroom musicians be more expressive live and letting guitar players create a lot of non-guitar sounds i just don't understand what any overdrive pedal could possibly be accomplishing.

Again, the DL4 was very influential and important for a delay/looper. But, even then, it borrowed elements that had existed in some Boss pedals since the late 80s. It wasn't even really "the first" device with looping capabilities.

The Klon was entirely new when it came out. Originals still go for thousands of dollars. And, as I said before, companies (big and small) are still trying to recreate it. I doubt this would be the case if it wasn't financially beneficial.

I mean, I think the whole idea of Klons being this gargantuan box of tone enhancing magic are just as dumb as the next guy, but to deny its influence and importance is wrong.

i've seen a lot of ridiculous arguments on ilx but this one... lol. the klon is influential to jack white-types who want to tell you about how different brands of 9v battery in their pedal sound as different as night + day, it has never inspired anyone in any tangible way bc why would it it's not an effect