LOS ANGELES – Practically three a long time after it was established, Pitchfork, probably the most influential music publication of the web age with the facility to make or break an artist, is being absorbed by one other entity — a males’s vogue and elegance journal.

The web site, beloved for being certainly one of fashionable music’s true facilities of gravity and famend for its every day file opinions scored 0.0 to 10.0, might be folded into GQ, father or mother firm Condé Nast introduced Wednesday.

No less than 12 staffers had been laid off, three individuals concerned within the scenario advised The Related Press on situation of anonymity as a result of they stated the scenario was nonetheless fluid. Ten of these had been editorial layoffs, leaving a everlasting editorial workers of eight.

The choice was made after what Anna Wintour, chief content material officer for Condé Nast, known as “a careful evaluation of Pitchfork’s performance.” Wintour known as the transfer “the best path forward for the brand so that our coverage of music can continue to thrive within the company.”

As Pitchfork strikes into its new configuration, it’s price asking: If many view tune discovery as music journalism’s main perform, what’s the position of insightful tradition writing about music when individuals can discover their favourite artists by following suggestions on social media or by taking part in 15 seconds of a tune on a well-liked playlist?


Document retailer clerk Ryan Schreiber based Pitchfork in 1996 as an indie music weblog impressed by fan zines and grew it into “the most trusted voice in music,” as its tagline reads.

Pitchfork started within the period of CDs and — with discerning tastes and unmatched curation — shepherded voracious music followers into the mp3 and peer-to-peer file-sharing age of Napster and into the streaming period past. In that point, its voice moved from snarky to incisive (typically each without delay) and the scope of its protection tailored to fulfill the present second. Schreiber offered Pitchfork to Condé Nast in 2015.

“In the late 2000s, alternative culture was going overground and an artisanal, small-batch approach to life was taking over from the sheeny mass-production of the previous decade,” says Laura Snapes, The Guardian’s deputy music editor and a longtime Pitchfork contributor.

“Pitchfork was well placed to lead and mirror that shift,” Snapes says. “They became the go-to chroniclers of this moment and had legitimacy … you could see the long roots of this culture in the site.”

Ann Powers, NPR’s music critic, says Pitchfork performs a vital position in Twenty first-century media as a result of it’s a music-specific publication and never merely a generalist web site with a music part. Meaning its knowledgeable writers have been capable of go deeper in protection and criticism, highlighting “intelligent and engaged, truly passionate music writing for the music fan,” as a substitute of focusing solely on what would enchantment to a common curiosity viewers — notably at a time the place music-specific press is atomizing.

“Pitchfork also became a beautiful space for diversity,” Powers says. “It grew into a space where there were a lot of amazing women writers, people of color, covering pop, R&B, experimental and global music with the same passion and dedication that it was covering the kind of indie rock from which it was born.”

The selection to maneuver the publication below GQ, she says, reminds her of ’90s music journal tradition, the place advertisers labeled publications like SPIN, Rolling Stone, Vibe, and Blender as males’s curiosity. “It truly feels like a setback,” Powers says.

Says Snapes: “Music is so much more than a ‘men’s interest’ or leisure pursuit. Pitchfork paid close, longform critical attention to so many different types of music, and so many different niches. I’m not sure how that will live alongside ecommerce pieces on stick vacuums.”


Early Wednesday afternoon, many of the Pitchfork workers had been despatched a hyperlink to a compulsory, 15 minute all-hands with Wintour at 1:30 p.m., three individuals with concerned within the scenario advised AP. That set off a sequence of occasions wherein most affected had been advised their final day can be Friday.

In screenshots of a public Slack channel accessible by Condé Nast workers, obtained by AP, Melissa Consorte, a Condé Nast vp, wrote on Wednesday, “Pitchfork is not going away as a brand.”

“This is not a terrible thing for us — GQ and P4K were getting in each other’s lanes and this makes it easier for us to use them in a complementary fashion,” she stated, utilizing the favored shorthand for Pitchfork. “I think this will only help P4K feel bigger and more recognizable in the long term.”

On Thursday, Consorte adopted up: “Pitchfork is not being shut down or rebranded as GQ — from a client and user perspective, everything will look the same.” And in one other public Slack channel, Joanna Melissakis, Head of Gross sales, Magnificence at Condé Nast, wrote that “Pitchfork will remain a standalone brand but the internal reporting structure is changing.”

A consultant for Condé Nast didn’t agree to talk to The Related Press on the file. Nevertheless, one Condé Nast viewers improvement editor shared on X that “by volume, Pitchfork has the highest daily site visitors of any of our titles … despite scant resourcing, esp from corporate.”


Gareth Paisey, singer of the Welsh indie band Los Campesinos!, is certainly one of many musicians who posted about Pitchfork following the layoff information. His band has acquired favorable opinions from the publication, however even those with low scores discovered themselves eulogizing the entity.

“There was a period of time where if Pitchfork said something was good, I thought it was good. And if they panned something, I probably wouldn’t bother listening to it,” he says. “I think that speaks to its power — how it was able to push the needle and single-handedly make something seem relevant.”

In 2021, guitarist Yasmin Williams says she was nearly prepared to surrender her profession pursuits when a constructive assessment from Pitchfork reignited her hope. “I was ready for the next level and it wasn’t happening,” she recollects. Then Pitchfork’s Sam Sodomsky reviewed her album, “Urban Driftwood.”

“Then there’s a flood of press. I really think it’s because of Sam’s review,” Williams says. She says musicians are concerned about the future of the site because “people trust Pitchfork more than other outlets.”

When it comes to his band, Paisey says Pitchfork informed how they were regarded by the public. “We’ve never been a cool band,” he says. “And then for Pitchfork to back us from the start, I think it really did reframe how people thought about us.”

He theorizes independent musicians will lose out on coverage in this new editorial shift.

“This sounds trite, but Taylor Swift isn’t tweeting her disappointment that Pitchfork is closing, right? It’s 5,000-follower emo bands that got a 7.6 review and has been proud of that for the past two years,” he says. “It’s the independent, experimental artists that are going to suffer.”


Maria Sherman writes about music for The Associated Press. She wrote four freelance articles for Pitchfork between 2016 and 2021.

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