Paste Magazine's Scores

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For 4,080 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: 3,644 out of 4080
  2. Mixed: 400 out of 4080
  3. Negative: 36 out of 4080
4080 music reviews
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    • 73 Metascore
    • 70 Critic Score
    In The Clear
    Filled with dreamy pop gems. [#14, p.105]
    • Paste Magazine
    • 73 Metascore
    • 85 Critic Score
    Innocence
    “Pontiak” and “ballad” were probably never supposed to be in the same sentence together, but the band’s insistence on its soft side for even a few songs is an exciting prospect that makes Innocence a diamond in the rough.
    • 73 Metascore
    • 64 Critic Score
    Simple Math
    There are plenty of seeds sewn throughout Simple Math that could likely blossom into Manchester Orchestra's first real breakthrough, but here, we're stuck in the growing pains phase.
    • 73 Metascore
    • 80 Critic Score
    Magic
    Magic doesn’t break any new sonic ground for Springsteen, but no one was calling for a reinvention. Magic offers what Bruce Springsteen does best: a handful of honest, hard-working tracks about life and how we live it.
    • 73 Metascore
    • 85 Critic Score
    Weather Diaries
    Whether the first sign of a late career renaissance or a corrective recourse to their shrugging split in the ‘90s, Bell, Gardener, Queralt and Colbert offer a comeback easily on par with their classic output.
    • 73 Metascore
    • 83 Critic Score
    Currents
    Currents is probably Eisley’s most calculated and complete full-length album to date, and one that takes the band’s obvious desire to experiment and expand on their sound (which was already quite evident in their 2011 album The Valley) to the next level.
    • 73 Metascore
    • 85 Critic Score
    I'm Rich Beyond Your Wildest Dreams
    It’s a great album with depth and intelligence, and possibly the best punk album released in a year of many great punk albums, outshining the band’s contemporaries by not seeing the genre as limiting, and changing the boundaries to suit their own abilities.
    • 73 Metascore
    • 86 Critic Score
    Wot
    It’s less garage, more cacti forest. Less “borrowing” money from your parents, more working odd jobs to afford your bottom-shelf tequila. It’s heart, and it’s good.
    • 73 Metascore
    • 72 Critic Score
    Pre Strike Sweep
    It shred and stomps ably, but it doesn’t feel special. Instead, it roars by for a half-hour and then it’s gone, and whatever thrills it delivers dissipate quickly.
    • 73 Metascore
    • 85 Critic Score
    There Existed an Addiction to Blood
    Here, they’ve given their most focused project, all while exploring the darkest corners of humanity over envelope-pushing industrial production. With a carefully constructed chaos, Clipping. throw us into their torturous musical realm and boldly ask us to find the art in fear.
    • 73 Metascore
    • 80 Critic Score
    Personality (One Was A Spider, One Was A Bird)
    Occasionally his voice gets lost in the cathedral of sound, but Personality remains a joyful noise. [Sep 2006, p.78]
    • Paste Magazine
    • 73 Metascore
    • 90 Critic Score
    Dark Night Of The Soul
    The controversy nearly obscured the resounding triumph of the album itself; written and produced by Burton and Linkous, it's a breathtaking set of atmospheric ballads (plus a few rockers) that explore cosmic concerns, from the self-destructive trap of revenge to the possibility of spiritual renewal.
    • 73 Metascore
    • 71 Critic Score
    In the Pit of the Stomach
    We Were Promised Jetpacks may have found their style for now, but this album still hints that nothing's settled yet.
    • 73 Metascore
    • 68 Critic Score
    Unreal
    Perhaps Blumberg didn’t know at the start that the Hebronix release would lead to a split from his band, but most of the six songs on Unreal catch him in the mood to say goodbye.
    • 73 Metascore
    • 89 Critic Score
    Single Mothers
    While the familiar ache still haunts Single Mothers, Earle treats it with new wisdom, choosing instead to ramble forward, rather than perseverate and drift waywardly back.
    • 73 Metascore
    • 83 Critic Score
    In the Mountain in the Cloud
    It's encouraging to know both that Portugal. The Man has not lost sight of themselves despite their successes and that their new home at Atlantic will be one that fosters the creative vision the band has become known for.
    • 73 Metascore
    • 60 Critic Score
    What We Saw from the Cheap Seats
    Unfortunately, What We Saw is heavy on overlong ballads, and when she adds that trademark whimsy to the mix, it's nearly unbearable.
    • 73 Metascore
    • 72 Critic Score
    Bobbie Gentry's the Delta Sweete Revisited
    The album does not aim to recreate arrangements from a half-century prior; the emphasis is on radical reinterpretation, and that mission succeeds.
    • 73 Metascore
    • 76 Critic Score
    Okie
    With a dozen new tunes, Gill’s 15th studio LP is a gentle, reflective collection that shows off his skill as a singer, and especially a songwriter. (He’s also an ace guitar player, though that side of him is more subdued here.)
    • 73 Metascore
    • 62 Critic Score
    There Is No Year
    When There Is No Year abandons the synthwave influences and embraces Fisher’s clear admiration for Foucault and other critical theorists, it’s easy to remember Algiers’ unique appeal.
    • 73 Metascore
    • 78 Critic Score
    11:11
    After the breakthrough of their incredible 2016 album Cardinal, Hall and Pinegrove faced the tall task of trying to match or surpass it. They haven’t quite done that, but they have built an impressive catalog of albums that spill over with compelling songs and affecting performances. From that perspective, 11:11 fits in perfectly.
    • 73 Metascore
    • 78 Critic Score
    Your Day Will Come
    All that hard work has culminated into a gorgeous, career-long debut. Chanel Beads’ day is finally here, now.
    • 73 Metascore
    • 85 Critic Score
    Where Does This Door Go
    Upon a first listen, Where Does This Door Go may be a lot to take in, as it covers a wide range of sounds and styles in its 52-minute runtime, but it also packs an immediate punch, and Hawthorne’s growth as a composer is evident by the end of the first song, making this easily his best album to date.
    • 73 Metascore
    • 66 Critic Score
    For Now I Am Winter
    For Now I Am Winter plays like a cultural stereotype, conjuring all the obvious adjectives but none of the emotions. But Arnalds has a gift for making boredom sound beautiful.
    • 73 Metascore
    • 82 Critic Score
    Get Guilty
    Newman’s second solo outing, Get Guilty, is a baroque-pop gem, on which he displays remarkable tonal control via crafty arrangement.
    • 73 Metascore
    • 80 Critic Score
    Blame It On Gravity
    Blame It On Gravity is a welcome return to form.
    • 73 Metascore
    • 60 Critic Score
    Knuckle Down
    DiFranco always throws her heart into her songs, and Knuckledown gives her a chance to reflect on it.
    • 73 Metascore
    • 70 Critic Score
    This Is Not The World
    'Think Tonight' is only one of several strong numbers on This is Not the World. In fact, it’s easy to imagine the Futureheads as just a classic tune or two away from breakthrough status.
    • 73 Metascore
    • 81 Critic Score
    Miami
    Miami shows an inventive collective in the act of reinvention, their recorded output transitioning from concepts to compositions to living breathing body-moving songs.
    • 73 Metascore
    • 75 Critic Score
    Fake Yoga
    They opt to confound their listeners with reams of noise and feedback, making for a series of soundscapes that have songs and static constantly competing for attention.
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