Credit: Paul John Higgins

This chart shows shifts in the makeup of Pitchfork’s roster over time. Genre areas are stacked, not overlapped—with the exception of “Indie rock,” each begins at the top of the genre beneath it, not at zero. “Heavy music” includes metal as well as whatever Swans and Lightning Bolt are. “Experimental” and “Miscellaneous” might seem interchangeable, but DJ sets and comedy fall into the latter (along with the likes of Bjork and Yoko Ono). And of course the porous border between, say, indie rock and indie pop (or between garage and indie rock, et cetera) means that many artist classifications could’ve gone another way. On the plus side, though, this arbitrariness and imprecision kept the number of genre categories small enough for the chart to be readable. Philip Montoro


Philip Montoro

Philip Montoro has been an editorial employee of the Reader since 1996 and its music editor since 2004. Pieces he has edited have appeared in Da Capo’s annual Best Music Writing anthologies in 2005, 2006, 2007, 2008, 2010, and 2011. He shared two Lisagor Awards in 2019 for a story on gospel pioneer Lou Della Evans-Reid and another in 2021 for Leor Galil's history of Neo, and he’s also split three national awards from the Association of Alternative Newsmedia: one for multimedia in 2019 for his work on the TRiiBE collaboration the Block Beat, and two (in 2020 and 2022) for editing the music writing of Reader staffer Leor Galil. Philip has played scrap metal in Lozenge, drummed with the Disasters, the Afflictions, and Brilliant Pebbles, and sung for the White Outs. He wrote the column Beer and Metal from 2012 till 2015, and hopes to do so again one day. You can also follow him on Twitter.