What was music criticism in 2014? Or, more precisely, what was “critical” about it? How exactly is offering a critique different from, say, regurgitating a press release or clicking “like” on Facebook? In other words, just how critical is contemporary music criticism, and why, in the end, does it matter?
Out of all the reviews, features, comments, blogposts, tweets, and discussion boards — all the endless, interminable text — that comprised the collective conversation about music in 2014, two moments stood out to us as especially symptomatic of where things currently stand on these questions. The first almost certainly passed you by, trivial, a non-issue in the vast data-sea of music discourse, but no less telling for it. The second you may have noticed, because for a few brief weeks in March, it was everywhere.
It’s with these two moments that we want to begin. From there, we’ll move on, in the final part of the essay, to consider how they might speak to one of 2014’s most talked about phenomenons: the dramatic rise of London-based label PC Music.
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