Paste Magazine's Scores

  • Music
For 2,214 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 1.7 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Illinois
Lowest review score: 10 Songs From Black Mountain
Score distribution:
2,214 music reviews
    • 78 Metascore
    • 89 Critic Score
    LaVere could rest on her lyrics alone, which are witty and feisty enough to stand on their own, but by giving her band boundless license to indulge any whim or eccentricity, she has crafted a well-rounded album that is already among the year's best.
    • 80 Metascore
    • 89 Critic Score
    Gorgeous and personal, the band has delivered a record that is not only the product of years of trial and error, but also the rarity of a truly talented storyteller.
    • 92 Metascore
    • 89 Critic Score
    Unlike many career-spanning sets, Blur 21 is perfectly arranged, with each studio album living on its own disc, accompanied by another disc of era-specific bonus material like singles, compilation tracks, remixes and more.
    • 81 Metascore
    • 89 Critic Score
    The time-tested tracks not only showcase the band doing what they do best in notoriously long, dramatic, panic-inducing instrumentals but are also startling reminders on why the band was so vital and lead such a movement to begin with.
    • 70 Metascore
    • 89 Critic Score
    It’s a rollicking, exciting and inspiring tussle in a corner of Thao’s cheerful quilt of a discography.
    • 61 Metascore
    • 89 Critic Score
    With Birthmarks, Born Ruffians bring us a deeply personal album.
    • 82 Metascore
    • 89 Critic Score
    It stitches psychotic school dance vibes among the surf garage in a hurried splendor.
    • 86 Metascore
    • 89 Critic Score
    So no, you don’t get a remastered version of one of your favorite albums. But you definitely do get your money’s worth.
    • 82 Metascore
    • 89 Critic Score
    It’s the one of the best QOTSA records to date.
    • 82 Metascore
    • 89 Critic Score
    Bach: Sonatas and Partitas Volume 1 is beautifully played and uplifting to listen to from beginning to end.
    • 74 Metascore
    • 89 Critic Score
    There’s nothing for Danilova to hide behind here, and having her so present throughout this album is breathtaking.
    • 82 Metascore
    • 89 Critic Score
    The combination of loose fun and pinpoint accuracy here is bracing, and Califone’s sheer originality is a great counterpoint to the many acts trying desperately to live up to the legacy of their formers.
    • 62 Metascore
    • 89 Critic Score
    Law is the perfect Indian-summer morning garage sale soundtrack album. It follows the mood flow to a T.
    • 82 Metascore
    • 89 Critic Score
    Each and every song sticks out musically for one reason or another--whether it’s the groovy bass line of “Sick of Words,” or the various movements of “Somewhere Unoccupied.”
    • 84 Metascore
    • 89 Critic Score
    Love’s Crushing Diamond never is over-intellectualized, but it lets emotion guide the trajectory, and taking something away from the album is dependent on the listener’s willingness to feel.
    • 80 Metascore
    • 89 Critic Score
    It’s Jones’ powerful, perfectly vibrato-laden voice that creates just the right of emotion for every break-up, hook-up, fed up and uplifting track on the barely 30-minute record.
    • 68 Metascore
    • 89 Critic Score
    It’s an album custom-made for deep headphone listening, and Tuttle and his cohorts pack the stereo field with incident and instrument.
    • 79 Metascore
    • 89 Critic Score
    With Here And Nowhere Else, they’ve thrown the first punch, and it hits you square in the jaw.
    • 70 Metascore
    • 89 Critic Score
    The Cautionary Tales of Mark Oliver Everett understands the grace of understatement.
    • 75 Metascore
    • 89 Critic Score
    Upside Down Mountain is a great achievement and Conor Oberst’s best work to date.
    • 82 Metascore
    • 89 Critic Score
    The album is ultimately the most cathartic and uplifting that songwriter Peter Silberman has crafted, indicating the demons he has long wrestled with may be tiring, if not nearing defeat.
    • 82 Metascore
    • 89 Critic Score
    The results of these experiments can be on the nose, like doing a gender switch on Brazilian extreme metal act Sarcofago.... Others take a little bit of unpacking.
    • 71 Metascore
    • 88 Critic Score
    The album will satisfy those wondering whether the band can achieve the nosebleed heights of its formidable back catalog, and it’s once again evident that Ashcroft needs guitarist Nick McCabe, bassist Simon Jones and drummer Peter Salisbury to keep his shamanistic flights of fancy tethered to earth.
    • 74 Metascore
    • 88 Critic Score
    Soft Airplane is a little scary (and dark and dank), yet filled with untold creative surprises and delights.
    • 86 Metascore
    • 88 Critic Score
    Tell Tale Signs subtly makes a good argument that Dylan’s later work is richer than expected.
    • 68 Metascore
    • 88 Critic Score
    Emanuel Lundgren has a rare knack for catchy melodies and bouncy rhythms that grab the ear, and also for arrangements that enlarge these simple elements into the enveloping emotional weather accompanying these tug-of-wars between adolescence and adulthood, escapism and reality.
    • 80 Metascore
    • 88 Critic Score
    The Crying Light, reaches out from the band’s investment in gender issues to grapple with nature of a different sort: the earth, familial relationships and a life-force passed on. The scope of the record spans generations, but retains a sense of communion with its listener.
    • 75 Metascore
    • 88 Critic Score
    This album isn't merely a single peak, but a whole mountain range.
    • 70 Metascore
    • 88 Critic Score
    Reminiscing on lost love and lust, Mould impresses with his songwriting skills.
    • 67 Metascore
    • 88 Critic Score
    With a little luck, this collection of mostly obscure covers could, on a smaller scale, do for Dando what the Rick Rubin-helmed American Recordings did for Johnny Cash.