Critical reaction was extremely positive ; Pitchfork awarded the album a 9. 7 out of 10, and Allmusic reviewer Stephen Thomas Erlewine wrote that it was " arguably Yo La Tengo's finest and most coherent album to date.

" A Pitchfork reviewer emphasized the social experience that takes place when listening to the album.

However, Pitchfork Media reviewer Michael Idov was less impressed with the album and wrote that its personal subject matter made for a " faintly embarrassing listen ".

" Pitchfork reviewer Mark Richardson observed that " the biggest pop band in the world exposed millions of fans to a really great and certainly frightening piece of avant-garde art.

Pitchfork Media ranked the song # 45 on its Top 200 Tracks of the 1990s list, with reviewer Tom Breihan writing " This track established the South as a serious force in the music, proving that these Texans could do dark better than anyone on either coast.

Pitchfork Media reviewer Nick Sylvester called the song a " a return to big sound Fever electro, but with subtler production: all the hacksaw synth is pushed back and sanded off, so Kylie's head voice doesn't have to go through eight additional filters to compete with the bristle ".

" Pitchfork Media's Alex Linhardt called it " a flawless album — one that stands tall today as one of Golden Age's most ageless ," lauding Kool Keith's " lyrical ingenuity " and citing Ced-Gee as " the source of the album's most insane, digitalk-quantum gibberish, spouting lines [...] hey should be studied in seminars alongside general relativity.

Brent Sirota of Pitchfork Media gave the album a perfect 10. 0 rating, noting that the album was " simply a masterpiece.

Pitchfork Media gave the album 6. 9 ( of a possible 10 );

It received mixed reviews, Q magazine giving it a rare 5 / 5 rating, whilst Pitchfork Media gave it 2. 8 / 10.

Subsequently, Pitchfork Media gave it the number two slot in its " The Top 100 Singles of 2000-2004 " feature in January 2005, bested only by OutKast's own " B. O. B .".

Pitchfork gave the band 7. 8 and noted that “ Dappled Cities haven't quite acquired a big reputation outside their homeland yet, but it seems likely they will ”.

Pitchfork Media originally gave the album a 9. 6 out of 10, with a short review that read simply, " If you consider yourself a fan of groundbreaking pop, go out and buy this album right now.

" Pitchfork gave the reissue a perfect 10 / 10, hailing it as the " best new reissue ," while Sputnikmusic's Robin Smith rated the album " classic " with a perfect 5. 0.

Pitchfork Media's Ryan Schreiber gave the album a 9. 2 out of 10 saying " You Forgot It in People explodes with song after song of endlessly re-playable, perfect pop.

The album placed eighth on the Pazz & Jop critics ' poll for 1999, and Pitchfork gave it position thirty-one in its list of the best albums of the 1990s.

Pitchfork Media's Brendan Reid gave The Director's Cut a score of 8. 4 out of 10.

Pitchfork Media gave it a 7. 8 / 10 and complimented Burns ' " lyrical insight and gift for writing and arranging endlessly listenable pop songs ".

Pitchfork Media writer Cosmo Lee gave the album a rating of 8. 5 / 10 and hailed Converge as " this generation's Black Flag.

" The song was ranked by Pitchfork Media as the 21st best track of the 2000s ; they wrote that "' Since U Been Gone ' gave us one of the most blunt rallying cries of the last ten years, a perfectly realized sing-along chorus that will be a karaoke staple for years.

Nick Sylvester of Pitchfork Media gave the song a strong review, rating it four and a half stars, and labeled it " fucking great ".

Pitchfork Media gave it a 8. 7 out of 10 ratings.

" Pitchfork Media gave the EP 6. 8 out of 10, saying that it " finds the band still unsure of their capabilities ".

Shortly after the release of their first album, they received attention from numerous MP3 blogs and a favorable review from Pitchfork Media, who gave the band a " Best New Music " commendation.

Indie music website Pitchfork Media gave the album a positive review but criticized its lack of innovation.

Marc Hogan of Pitchfork Media gave the album a negative review, rating it 3. 4 out of 10.

Marc Hogan of Pitchfork Media gave it 5. 6 / 10, calling it " a goofy, sloppy mini-album, cramming familiar Weezer fuzz, stoned piano ballads, playful analogue synths, and misguided Bad Company references into a little more than half an hour ".

CMJ praised it as “ subtle, gentle and picturesque ”, Alternative Press gave it five stars, their highest rating, Pitchfork wrote “… Incredible Stuff ”.

On the other hand, Pitchfork gave the album a low 3. 3 / 10 rating, writing, " these songs highlight the poseur mentality and insincerity that paradoxically plagues and blesses The Dandy Warhols ".

Neko Case in a 2006 interview with Pitchfork Media gave an example of how prevalent pitch correction is in the industry:

Jarmusch is also featured on the album Wu-Tang Meets the Indie Culture ( 2005 ) in two interludes described by Sean Fennessy in a Pitchfork Media review of the album as both " bizarrely pretentious " and " reason alone to give it a listen ".

However, it received mixed reviews: Pitchfork Media called it " flat and dead ", while Allmusic called it " a refreshingly retro rock & roll album "

Pitchfork Music cites this album as " inspiring, in part, much of the contemporary avant-garde music scene — noise, in particular.

* Inferno, an album by Project Pitchfork

In an interview with Pitchfork Media, drummer? uestlove said that the album was 97 % finished and that D ' Angelo was just finishing his lyrics.

In 2009, it was named the best album of the 2000s in several rankings such as Pitchfork, Rolling Stone, and The Times, and was ranked # 67 in the updated version of Rolling Stone's 500 Greatest Albums of All Time.

In 2005, two popular indie music publications, Pitchfork Media and Stylus Magazine, independently named Kid A the best album of the past five years.

Rolling Stone, Pitchfork and The Times would all go on to rank Kid A as the greatest album of the 2000s.

Their debut album Nowhere has been named one of the greatest albums of the shoegazing genre, Nowhere was voted number 74 on Pitchfork Media's list of the Top 100 Albums of the 1990s, and closing track " Vapour Trail " was voted at number 145 on Pitchfork's Top 200 Tracks of the 90s.

The album received mostly positive reviews, gaining four stars from Rolling Stone and a 9. 0 from Pitchfork Media.

In 2003, Pitchfork placed the album at # 53 on their " Top 100 Albums of the 1990s " list.

Pitchfork Media listed Swordfishtrombones as 11th best album of the 1980s.

The album was also a critical success, being ranked 114th on Pitchfork Media's Top 200 Albums of the first decade of the 21st century List, and 10th on Rhapsody's Hip Hop's Best Albums Of The Decade List.

Rechristened The Obliterati, the new album was released on Matador on May 23, 2006 and was named as the 33rd best record of 2006 by Pitchfork Media and placed 50th in the Pazz & Jop poll.

The album was critically well-received including a 9. 8 out of 10 score from online music magazine, Pitchfork Media.

It was listed as the 90th best album of the 1990s by Pitchfork, who complimented Elizabeth Fraser's more direct vocals and the album's complex songwriting.

Many critics reviewed the album, Pitchfork Media quotes " The Richard D. James Album is 43. 5 minutes of pure electronic genius " A review by the Chicago Sun-Times < nowiki >'</ nowiki > Jim DeRogatis said of the album: " James has turned inward for inspiration, painting aural pictures of real and imagined scenes from his West Country childhood.

Although the album did not meet commercial success at the time of release, it has gone on to sell over 300, 000 copies and received critical acclaim from several publications, including Pitchfork Media, Magnet Magazine, Allmusic, and The Pazz & Jop poll.

Exponential Records has helped put San Antonio Electronica on the map, catapulting artists like Diego Chavez, a. k. a. Aether-whose album Artifacts received a 7 out of 10 from the notoriously stingy Pitchfork Media, and Ernest Gonzales, a. k. a. Mexicans With Guns, to much wider audiences.