Pitchfork's Scores

  • Music
For 7,040 reviews, this publication has graded:
  • 46% higher than the average critic
  • 4% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 3.4 points lower than other critics. (0-100 point scale)
Average Music review score: 68
Highest review score: 100 Kid A
Lowest review score: 0 nyc ghosts & flowers
Score distribution:
7,040 music reviews
    • 90 Metascore
    • 90 Critic Score
    If Willner doesn't hit at least some of your pleasure centers, well, forget your ears-- your nerve endings might actually be dead. Even three months in, it's a safe bet that From Here We Go Sublime will wind up 2007's most luxuriant record.
    • 80 Metascore
    • 90 Critic Score
    Along with wry, sometimes melancholic observations worthy of Richman or the Magnetic Fields' Stephin Merritt, these elements make for Lekman's best record, one likely to captivate even those who were skeptical of his previous releases.
    • 87 Metascore
    • 90 Critic Score
    What follows is surprisingly full and wide ranging, almost as much as the Bruegel painting that graces the album's cover.
    • 85 Metascore
    • 90 Critic Score
    Really, in a world far too concerned with backstories and far too lacking in good old dedication to craft, Grizzly Bear's just about as boring as they come: four guys who very quietly set out to make a fantastic record. And so they did.
    • 81 Metascore
    • 90 Critic Score
    We can only hope that, as we enter the 2010s, Embryonic portends yet another new phase for the Flaming Lips--one that's equally as improbable and rewarding as the ones that have preceded it.
    • 84 Metascore
    • 90 Critic Score
    "Street Horrrsing" was a great record, but Tarot Sport is a cut above. Perhaps surprisingly, it's also a welcoming album--and one of the best of this already fruitful year.
    • 82 Metascore
    • 90 Critic Score
    This is both the most diverse and most listenable of their three full-lengths, and yet it never seems like a compromise. It feels like the product of careful, thoughtful growth, bringing in new influences--bits of mid-1970s Fleetwood Mac, sparkling indie pop, even a few soul and gospel touches--while maintaining the group's core sound.
    • 85 Metascore
    • 90 Critic Score
    For those who've been following along for a few years, this is a groundbreaking record that condenses and amplifies Ariel Pink's most accessible tendencies. But the brilliant thing about Before Today is that no prior knowledge of his catalog is required.
    • 81 Metascore
    • 90 Critic Score
    With this new LP -- released on a major label on both sides of the Atlantic, no less -- odds are, a lot of people are going to listen, and I don't mean in the tail-eating, blog-bite-blog sort of way.
    • 94 Metascore
    • 90 Critic Score
    This self-fulfilling fatalism is at the heart of innumerable rock songs by innumerable bitter young men, but it is rarely expressed with the introspective clarity that Bachmann displays throughout Icky Mettle.
    • 85 Metascore
    • 90 Critic Score
    Here, Clark's role-playing is grounded in emotions that are as cryptic as they are genuine and affecting. And when her voice can't bear it, her guitar does the screaming.
    • 99 Metascore
    • 90 Critic Score
    At its heart, jazz thrives on bold, sensitive interaction in the moment, and Live in Europe 1967 represents the pinnacle of that practice.
    • 89 Metascore
    • 90 Critic Score
    "Left Alone" is nothing short of a vocal masterclass. It has the singer going from the verses' rap-like cadence to the hook's curlicue jazz stylings to the operatic long notes of the bridge-- notes that slowly curdle underneath their own exasperated weariness.
    • 87 Metascore
    • 90 Critic Score
    For 30 years Swans have challenged the boundaries between beauty and ugliness, music and noise, catharsis and abuse.... The Seer is the album that transcends them.
    • 88 Metascore
    • 90 Critic Score
    Tame Impala prove far more exciting because, by maximizing the use of the available technology, they tap into the progressive and experimental spirit of psychedelic rock, and not just the sound.
    • 98 Metascore
    • 90 Critic Score
    Frankly [add-ons would] just be a distraction from the underlying theme that becomes clear once you get absorbed into the music, which is that Blue Lines is still Blue Lines, and most of the world is still trying to catch up to it.
    • 91 Metascore
    • 90 Critic Score
    It's a real trove, and not just because this lineup is relatively obscure.
    • 86 Metascore
    • 90 Critic Score
    The live album (recorded in Stockholm in 1994) and disc of rarities and demos put the finished product in context, while the array of EPs show off the wide stylistic range of everything the Breeders could do well.
    • 87 Metascore
    • 90 Critic Score
    Revisiting All Hail West Texas over two decades into the Mountain Goats’ existence makes a central irony in their story all too clear: it’s not a lonely record anymore. A handful of these songs remain the most iconic in the Mountain Goats catalog.
    • 91 Metascore
    • 90 Critic Score
    As a box set, Higher really does reinforce how creatively rich a band Sly & the Family Stone were, while making it seem almost unbelievable that their peak only lasted seven years and seven albums.
    • 79 Metascore
    • 90 Critic Score
    The prismatic, black-lit aura of their fascinating, endlessly explorable debut Psychic doesn’t try to stop anyone from making that connection and if you spot Jaar’s stated influences of Can and Richie Hawtin, that’s fine too: rarely has a record held such appeal for the high-minded while welcoming the simply high-minded.
    • 83 Metascore
    • 90 Critic Score
    Rival Dealer has some of the most immediate music from the Burial project, but it's worth noting that this is also a noisy, dissonant work.
    • 93 Metascore
    • 90 Critic Score
    Of course, Grace Jones is the star here. Five of the original album’s nine songs are covers, though rather than fealty to the source material, Jones sounds as if she’s shredding the songbook with her bare teeth.
    • 89 Metascore
    • 90 Critic Score
    Sounding like nothing else and answering to nobody but its creators, Run the Jewels 2 is in a class by itself.
    • 95 Metascore
    • 90 Critic Score
    The first three discs of The Smithsonian Folkways Collection are as fine a retrospective as you can find for Lead Belly, showcasing the diversity of his repertoire and the precision of his playing and singing. What distinguishes this collection is its scope.
    • 89 Metascore
    • 89 Critic Score
    Greenspan... manages to fold elements of nearly a quarter-century of forward-looking pop into a distinct sound without sounding either conceptual or trading on contradictions or the smoke-and-mirrors of attention-grabbing eclecticism.
    • 86 Metascore
    • 89 Critic Score
    Calexico have created their first genuinely masterful full-length, crammed with immediate songcraft, shifting moods and open-ended exploration.
    • 87 Metascore
    • 89 Critic Score
    Phantom Power sees the down-to-earth Welsh band moving away from genre-hopping and rough juxtapositions, and beginning to blend their influences into an evenly spread melange that simply sounds like a highly evolved pop band.
    • 86 Metascore
    • 89 Critic Score
    Their best album to date-- a bold claim to the upper echelon of rock.
    • 82 Metascore
    • 89 Critic Score
    You Are Free is full of arresting, serene beauty, but as an album-- as that quantifiable object-- it has composite failings. Sans a handful of lesser inclusions and tributes, the imaginary, shorter version of You Are Free is flawless.