Czar vs. Pitchfork Media's Best Tracks of 2007

Ok, not gonna lie about this one. I've got a beef with most music critics. I'll never agree with all of them, and that's what I love about listening to music. It's almost like falling in love with the concept of agreeing to disagree. One critics' favorite could be another critics' favorite to bash on a large verbal scale. Once again, another beautiful example of this field. Except there are a few critics that seem different...or difficult...I can't put my finger on it, where other times I can. For example; Robert Christgau seems to hate it when the Beastie Boys aren't spitting out rhymes. I found last year's "The Mix Up" (2007) from the Beasties quite refreshing. It didn't sound as mechanical as their last hip hop effort, "To The 5 Boroughs" (2004). Now certain arguments can be made at this point (i.e. 'It was a straight forward hip hop album') if you're a little more in depth, but I'll save that for a later time. All Music seems to enforce an excellent musical blueprint on the basic evolution of Rock and Roll and its sub-genres, but it seems to drop off when you go digging for obscure Funk and Soul artists. I can read about Michael Bolton's crappy ass AOR rock band, Blackjack, and how they praise his early origin, but I don't see any in depth information for such proto-rap Funk groups like The Jimmy Castor Bunch and how they link up to later rap groups like the Ultramagnetic MCs. Maybe I'm missing the fact that Rock & Roll has been around a while, but with this kind of information age, how can I only see scant bits of information on solid Funk groups like The Olympic Runners or Brass Construction and a whole load of crap on horrible Rock solo efforts and obscurely made overindulgent soundtracks by a certain Zeppelin guitarist.
Those kind of slips are understandable. I see where they're coming from, and I can easily answer in my head that their problem seems evolutionary or simply an obstacle. The information will come with time, or maybe I'll just understand their quirk, and work around it. Now for Pitchfork Media, their style is a little more aggravating. Back in the day I saw them as very straight forward in trying to cover the uncovered bases of music, or at least to say the lesser known genres. That's something I could easily appreciate. Now, they seem to have their own wall of sound, and when they play it, people listen. I understand the attention, but now they have a certain amount of power that they sometimes abuse. I recently filtered through Pitchfork's Top 100 Songs of 2007 I found eight songs from six artists that I enjoyed at that moment. The rest of it was a wasteland of jabby jangly indie rock, shiny glimmering plastic dance beats, grainy lo-fi experimental noise rock, long drawn out singer/songwriters trying to capture their image, and a few pop radio staples (i.e. cookie cutter gangsta rap) that are like head rotting sugar after the first listen. It felt like they tried to make a good account of 2007, but it just felt like a horse, beaten dead with praises of uninspiring independent music. Now, what did I walk away with?
I was lucky to walk away with three new discoveries: Antibalas "Beaten Metal" (Afro-Beat), Tinariwen "Matadjem Yinmixan" (World Fusion), and Simian Mobile Disco (Techno). The other groups I had been aware of, and I just enjoied the tracks and agreed about their inclusion with the list (Jay-Z "Ignorant Shit" & "Roc Boys" and Animal Collective "Fireworks" & "Peacebone").
Now, I'm not arguing that all 100 songs were total shit, but the Top 100 Pitchfork Tracks of 2007 felt like the Top 100 Stereotypical Songs from Pitchfork of 2007. Maybe those featured artists had better songs that weren't on display, but I'm working with what Pitchfork put out in 2007 and it's not the best listening experience of my life.