Paste Magazine's Scores

  • Music
For 2,232 reviews, this publication has graded:
  • 65% higher than the average critic
  • 3% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 1.8 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Pacific Ocean Blue [Reissue]
Lowest review score: 10 Songs From Black Mountain
Score distribution:
2,232 music reviews
    • 67 Metascore
    • 67 Critic Score
    Ruby Red is free to sprawl and amble, joyous in its own sense of creative possibility.
    • 78 Metascore
    • 66 Critic Score
    Producer Joe Henry succeeds in putting a Lanois-lite polish on everything, adding a subtle but not overbearing gravitas to the songs that allows Crowell’s humor to slide through without clashing.
    • 68 Metascore
    • 66 Critic Score
    If this all sounds like a dog’s breakfast of sound, it is--the tunes themselves only occasionally work.
    • 73 Metascore
    • 66 Critic Score
    Cloud Nothings plays like the sonic equivalent of a merry-go-round ride-all momentum and boundless energy. This ride is fun, of course, but only in small doses.
    • 66 Metascore
    • 66 Critic Score
    Raven in the Grave is consistently inconsistent, just like its makers.
    • 79 Metascore
    • 66 Critic Score
    While the album at times requires careful attention to fully attach to, it's modestly flavored with a warmth and ease that naturally rings true.
    • 63 Metascore
    • 66 Critic Score
    Beauty Queen Sister will please fans that already love Indigo Girls, but the repetitive nature of the album might struggle to bring in new listeners.
    • 74 Metascore
    • 66 Critic Score
    Even with a few missteps, Tanton's put together a collection showing that he's capable of memorable work, and likely to produce more of it.
    • 74 Metascore
    • 66 Critic Score
    You Know You Like It is so imbued with the history of the genre it's chosen to recreate that it has no sense of individual identity.
    • 62 Metascore
    • 66 Critic Score
    The rebelliousness and playfulness promised and hoped for are glaringly absent and the listener is, unfortunately, left with a collection of songs that wouldn't sound out of place coming from the speakers of your local Starbucks.
    • 73 Metascore
    • 66 Critic Score
    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.
    • 60 Metascore
    • 66 Critic Score
    It’s interesting, but it’s never happy, sad, angry or romantic. It’s not even overly smug.
    • 71 Metascore
    • 65 Critic Score
    For those still enthralled by the lyrical twists and midtempo folk-rocking of 1972, this record will be manna from heaven.
    • 67 Metascore
    • 65 Critic Score
    A stopgap EP that simultaneously displays the best and worst of what ...Trail of Dead can do.
    • 74 Metascore
    • 65 Critic Score
    Frontwoman Shingai Shoniwa scales back her Billie Holiday persona but is no less a dominant presence, showing herself to be equally adept at giddy twee (“Wild Young Hearts”) and crackling synth-pop (“Saturday”) as she is girl group sing-alongs .
    • 67 Metascore
    • 65 Critic Score
    While the band takes some sonic risks and shows continued versatility on songs like 'Alligator Pie (Cockadile),' the album is saddled with some of the same leaden production values that have dogged the latter half of the band’s recorded career.
    • 62 Metascore
    • 65 Critic Score
    The threesome, along with Tool-producer Dave Bottrill, deliver a brightly focused, 13-track collection that hard-core fans will pan and newbies will adore.
    • 64 Metascore
    • 65 Critic Score
    In the three years since Rogue Wave’s last album, frontman Zach Rogue has discovered the synthesizer. This isn’t bad in theory, but in practice the newfound instrument does little to lift Rogue Wave to the next level.
    • 74 Metascore
    • 65 Critic Score
    Unfortunately, the rest of the album is just plain forgettable—a flat stale gray of staid sentiments and middle-of-the-road rock.
    • 82 Metascore
    • 65 Critic Score
    The problem is the songs. Auerbach can sing with feeling (see the cover of Jerry Butler’s “Never Gonna Give You Up,” which features vocals reminiscent of vintage Todd Rundgren), but his lyrics are so banal they hardly seem worth the trouble.
    • 73 Metascore
    • 65 Critic Score
    Taken individually, the songs are beefy enough to satisfy stoner-rock munchies, but as an album, Heart is hardly cohesive.
    • 67 Metascore
    • 65 Critic Score
    With Peter Wolf and Robert Plant out making records that push the needle in the revered oldster lane, Robertson and his famous friends could easily have taken more names.
    • 74 Metascore
    • 65 Critic Score
    It's an easy listen, a friendly collection of solid journeyman jams and a decent starting place for the uninitiated.
    • 78 Metascore
    • 65 Critic Score
    Ritual Union is an album that has about as many standouts as skip-overs. The standouts are songs that won't get old, but the skip-overs aren't the type to grow on you, more the type that a significant other might use in the morning to fuck with your fragile early stages of consciousness.
    • 70 Metascore
    • 65 Critic Score
    There's a bit more rock 'n' roll and personality to what The Middle East is doing, and, despite the fact that these guys are a seven-piece ensemble, you get the sense that without Jones, the entire affair would completely fall apart; it's his vocals and distinctive songwriting style that gives the band its identity.
    • 68 Metascore
    • 65 Critic Score
    Mr. Kravitz: The radio would be a lonely, segregated underworld without you. But, at this point, that full-on funk album sounds pretty damn nice.
    • 59 Metascore
    • 65 Critic Score
    Too often, it's elevator-funk, waiting room disco.
    • 74 Metascore
    • 65 Critic Score
    Master of My Make-Believe is by no means a disappointment, but it falls short of the expectation that has been gestating for the past four years.
    • 64 Metascore
    • 65 Critic Score
    The overall accumulation of the album's atmosphere might be its greatest success.
    • 65 Metascore
    • 65 Critic Score
    There's a definite charm in the album's perky, quirky little tunes and retromania, but Spanish Moss and Total Loss is still lacking the power of a single, standout hit.