Paste Magazine's Scores

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For 4,077 reviews, this publication has graded:
  • 67% higher than the average critic
  • 3% same as the average critic
  • 30% lower than the average critic
On average, this publication grades 3 points higher than other critics. (0-100 point scale)
Average Music review score: 76
Highest review score: 100 Sgt. Pepper's Lonely Hearts Club Band [50th Anniversary Edition Deluxe Version]
Lowest review score: 10 Songs From Black Mountain
Score distribution:
  1. Positive: 3,641 out of 4077
  2. Mixed: 400 out of 4077
  3. Negative: 36 out of 4077
4077 music reviews
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    • 75 Metascore
    • 72 Critic Score
    Hour Of Green Evening
    Hour of Green Evening remains engaging even at its most lethargic. ... There’s a mystical, almost hallucinatory quality to Becker’s songwriting.
    • 75 Metascore
    • 88 Critic Score
    The Mountain
    This album isn't merely a single peak, but a whole mountain range.
    • 75 Metascore
    • 75 Critic Score
    Black Moon Spell
    This time instead of competing for the throne, if feels more like a party with open guest list.
    • 75 Metascore
    • 77 Critic Score
    Cosmetics
    Songs like these [“Killin’ Time” and closer “Motel Room”] showcase the best of Diamond Rugs’ penchant for big riffs and bawdy entertainment, but the rest of Cosmetics ends up sounding strikingly derivative.
    • 75 Metascore
    • 81 Critic Score
    Mosquito
    Mosquito is where this band finally grooves, after long threatening.
    • 75 Metascore
    • 75 Critic Score
    Bought to Rot
    Grace doesn’t graduate from punk on Bought To Rot--she expands and elevates it with explicit revelations, fervent melodies, head-banging chord progressions and unruffled tenacity.
    • 75 Metascore
    • 76 Critic Score
    OFF!
    Fortunately, they're still pushing energy and concision: OFF! is 16 songs in 16 white-knuckle minutes.
    • 75 Metascore
    • 69 Critic Score
    B-Sides and Rarities
    The slight disappointment of B-Sides and Rarities is that it won’t upend or startle anyone’s perceptions of Beach House. There is nothing remotely bad on here, but there is also nothing that finds the duo lightening up or straying too far from the warm glow of their trademark sound.
    • 75 Metascore
    • 69 Critic Score
    Pom Pom
    Pom pom is probably the most accessible, easy-on-the-ear and enjoyable music of his career, without any asterisks.
    • 75 Metascore
    • 84 Critic Score
    In the Marrow
    Despite its bleak, blustery façade, In The Marrow is a pop album at its core, and further testament to how tortured souls often write the sweetest hooks.
    • 75 Metascore
    • 74 Critic Score
    SAP
    SAP does not contain a single bad song, but the record is lengthy.
    • 75 Metascore
    • 80 Critic Score
    Green Naugahyde
    If all seven of their previous studio works represent a layer in Wynona's castor Taco-Bell repast, then it's appropriate to say that Green Naugahyde takes a big bite of the whole thing.
    • 75 Metascore
    • 79 Critic Score
    Collection
    Soccer Mommy mirrors the melancholic joy of Death Cab For Cutie with the emotive songwriting of Now, Now, reworking some older demos into mournful indie-pop that are introspective, yet intensely relatable.
    • 75 Metascore
    • 83 Critic Score
    Otis Taylor's Contraband
    In short, it's a modern blues record that even non-blues fans can love and that blues fans can outright cherish.
    • 75 Metascore
    • 72 Critic Score
    Close to the Glass
    On Close to the Glass, the results are more fractured and schizophrenic than ever.
    • 75 Metascore
    • 79 Critic Score
    Destroyer
    Destroyer starts thumping with the first track and never stops; the tone might change, but the listener’s desire to stomp the accelerator on the open road won’t.
    • 75 Metascore
    • 75 Critic Score
    It All Starts with One
    One can be a grower: The sleepy and skippable "Worship" (featuring an obtrusive duet vocal from Jose Gonzalez) finds Brun approaching a more accessible vocal territory-one annoyingly reminiscent of Feist. But it's a mostly stellar experience.
    • 75 Metascore
    • 68 Critic Score
    We Walk This Road
    Burnett's production is well-intentioned, but the vibe is a little too restrained, the burn a little too controlled.
    • 75 Metascore
    • 62 Critic Score
    B4.DA.$$
    Ultimately, B4.DA.$$ is a lackluster album with little appeal beyond its dry technical flourish and fleeting moments of vulnerability.
    • 75 Metascore
    • 74 Critic Score
    Walking Field
    It’s great headphone music.
    • 75 Metascore
    • 76 Critic Score
    Nocturne
    Tatum doesn't offer anything game-changing, but he does serve up a platter of breathless, sometimes mindless synth-pop fun.
    • 75 Metascore
    • 71 Critic Score
    What an Enormous Room
    What an enormous room’s production reaches the same high watermark as prior efforts like Three Futures and Silver Tongue, but struggles to land with the same impact.
    • 75 Metascore
    • 78 Critic Score
    Caught In The Trees
    At least the tension between his addiction to depression and his longing to escape it has, on this record, produced a music that’s not defeated, but appropriately tense.
    • 75 Metascore
    • 65 Critic Score
    Fear of the Dawn
    Though it has its moments, Fear of the Dawn isn’t quite wild enough.
    • 75 Metascore
    • 83 Critic Score
    Another One
    Even songs which seem at first like throwaways take turns which end up redeeming their back-to-basics structure.
    • 75 Metascore
    • 80 Critic Score
    Black Holes & Revelations
    A career milestone and one of the year's strongest rock albums. [Sep 2006, p.73]
    • Paste Magazine
    • 75 Metascore
    • 84 Critic Score
    El Turista
    On his latest, El Turista, Rouse takes things a step further, diving headfirst into jazzy, lushly orchestrated, early-’60s-indebted Spanish-language tunes that play like a cross between Astrud Gilberto’s bossa-nova classics and Vince Guaraldi’s A Charlie Brown Christmas.
    • 75 Metascore
    • 83 Critic Score
    Heartthrob
    The music is possibly the duo's best, though it's a little uniform compared to their competing peak The Con, which had shrewder tunelets and weirder sonics.
    • 75 Metascore
    • 79 Critic Score
    Floating Features
    Despite its many nostalgic elements, Floating Features represents a new start in a new city, and though it often looks inward, it’s grounded in the present and glances towards the future.
    • 75 Metascore
    • 79 Critic Score
    Songs for You
    On Songs for You, Tinashe shows off how adept she is at flitting between genres, hopping on moody, woozy R&B, sun-dappled G-funk, ’80s pop, acoustic devotionals, club-worthy drum ’n’ bass and skittering trap, sometimes in the span of a single song without so much as straining her airy, but substantial soprano. There are a few songs left over from a scrapped album with RCA, but here, they feel part and parcel of the vision Tinashe has for herself.
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