Paste Magazine's Scores

  • Music
For 2,744 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 2.6 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 Pacific Ocean Blue [Reissue]
Lowest review score: 10 Songs From Black Mountain
Score distribution:
2744 music reviews
    • 63 Metascore
    • 60 Critic Score
    Wander[s] into engagingly curious sonic territory. [#13, p.125]
    • Paste Magazine
    • 63 Metascore
    • 60 Critic Score
    A collection of introspective songs that's heavy on the flower and hardly wild. [Dec 2005, p.107]
    • Paste Magazine
    • 63 Metascore
    • 55 Critic Score
    Glow & Behold is never shrill or musically obnoxious, but it’s obnoxious how dull it is.
    • 63 Metascore
    • 40 Critic Score
    It's only fair to consider Saturday Nights, Sunday Mornings in the context of the rest of the Crows’ catalog, and with that in mind--to borrow a phrase from Duritz--this one might fade into the grey.
    • 63 Metascore
    • 50 Critic Score
    CSS is stripped of the qualities that made it the charmingly objectionable crush of two summers ago. And note, this is not the sexy kind of stripped this time around.
    • 63 Metascore
    • 46 Critic Score
    Everything from the stilted production to Manson's lyrics to that awful album cover seems hopelessly mired in 1998.
    • 63 Metascore
    • 40 Critic Score
    Mall-punk aesthetes might be convinced, but even before Cross of My Calling’s ponderous title-track closer comes around (with its near nine-minutes of lead-footed epilogue), most listeners owning a copy of Sandinista! will have put it on instead.
    • 63 Metascore
    • 60 Critic Score
    Keane knows its niche and plays it well. [Aug 2006, p.97]
    • Paste Magazine
    • 63 Metascore
    • 50 Critic Score
    On some tracks, Morissette’s voice channels Björk (with whom Sigsworth has also worked), but the mood ultimately switches to watered-down Evanescence.
    • 63 Metascore
    • 58 Critic Score
    In spite of its melodic clarity, Drones ultimately succumbs under the weight of its narrative, which strains for political and social commentary but winds up closer to parody.
    • 62 Metascore
    • 50 Critic Score
    His work here seems scattered and gimmicky. [Oct 2006, p.75]
    • Paste Magazine
    • 62 Metascore
    • 49 Critic Score
    Sadly, this album gets bogged down in hollow harmonies and filler songs that merely scrape the surface of emotion.
    • 62 Metascore
    • 40 Critic Score
    MGMT chokes on its own forced sense of whimsy.
    • 62 Metascore
    • 60 Critic Score
    Even Dream’s production, which was voluptuously orchestrated, has turned static; there’s an ashen militarism to be heard in these slow, sad songs.
    • 62 Metascore
    • 50 Critic Score
    When Finally Rich works (and it often does), it's thanks to everyone other than Chief Keef.
    • 62 Metascore
    • 50 Critic Score
    Crazy Clown Time, recorded in Lynch's personal studio with engineer Big Dean Hurley, isn't exactly fart-blank, but this visual master shouldn't quit his day job.
    • 62 Metascore
    • 46 Critic Score
    Here the Get Up Kids sound a bit confused and rusty, making There Are Rules a late career footnote of limited urgency.
    • 62 Metascore
    • 49 Critic Score
    Here winds up an album of originals, sung by the people who wrote them, but somehow resembling more than anything else a campfire sing-along of someone else's songs.
    • 62 Metascore
    • 60 Critic Score
    Happiness ultimately falls victim to a faintly generic feel. There’s nothing we haven’t heard before, so reserve the album for background music rather than close listening, and it shouldn’t disappoint.
    • 62 Metascore
    • 50 Critic Score
    In Your Dreams is an album about exorcising the demons of the past and moving forward toward the beauty lingering in our imaginations.
    • 62 Metascore
    • 50 Critic Score
    There’s no deviating from this formula as 1000 Palms is a disappointingly reclusive step for a band whose once-bright star might have finally stopped flickering.
    • 62 Metascore
    • 53 Critic Score
    British singer/songwriter David Gray last released a proper studio album in 2005. It was called "Life in Slow Motion," and it was lovely. It was also a complete waste of that title, which could be far more accurately applied to his syrupy new LP Draw the Line.
    • 61 Metascore
    • 50 Critic Score
    What's not much in evidence is distinctive or memorable material. [Apr/May 2005, p.141]
    • Paste Magazine
    • 61 Metascore
    • 60 Critic Score
    At times convoluted, Solarized can be a bit of a puzzle, but there are precious few pieces missing from this set. [#14, p.115]
    • Paste Magazine
    • 61 Metascore
    • 50 Critic Score
    Wilson's fake tales of Middle England lack the sharp observational focus of the Arctic Monkeys, the bratty cleverness of Blur circa Parklife or even the sexy swagger of Franz Ferdinand. [May 2007, p.61]
    • Paste Magazine
    • 61 Metascore
    • 40 Critic Score
    If you don't mind a little old-fashioned leering misogyny and plenty of lobotomized choruses, the power chords and snarling vocals will shake you all night long. [Sep 2006, p.81]
    • Paste Magazine
    • 61 Metascore
    • 50 Critic Score
    An efficient and insistent hunk of modestly effective dancefloor candy. [Oct/Nov 2005, p.125]
    • Paste Magazine
    • 60 Metascore
    • 60 Critic Score
    Things get slightly clunky when the tempo slows and they stretch for drama, but there’s a growing self-awareness here that keeps Rooney within its comfort zone, which, refreshingly, is comforting more often than not.
    • 60 Metascore
    • 50 Critic Score
    Creating a musical theme that stretches across the album isn’t a bad idea, but The Little Ones fail to pull it off, and the songs suffer from a frothy sameness.
    • 60 Metascore
    • 60 Critic Score
    Release Therapy is solid; disappointing only when weighed against Luda's prodigious talent. [Dec 2006, p.89]
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