Pitchfork's Scores

  • Music
For 6,518 reviews, this publication has graded:
  • 47% higher than the average critic
  • 4% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 3.5 points lower than other critics. (0-100 point scale)
Average Music review score: 68
Highest review score: 100 London Calling [25th Anniversary Legacy Edition]
Lowest review score: 0 nyc ghosts & flowers
Score distribution:
6,518 music reviews
    • 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
    • 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.
    • 88 Metascore
    • 89 Critic Score
    Spoon's latest is their magnum opus to date; it takes a scalpel to the highlight reel of their career, cutting and pasting a 35-minute tour de force that ends too soon.
    • 77 Metascore
    • 89 Critic Score
    They rival The Shins, or The Magnetic Fields, or any of the innumerable indie touchstones, but what truly sets Who Will Cut Our Hair apart is the near-total absence of traditional verse/chorus/verse framework in their songs; to nail beautiful, memorable lines with such remarkable ease is a feat unto itself, but to do so in essentially formless compositions is a different class of achievement entirely.
    • 88 Metascore
    • 89 Critic Score
    Not simply an excellent album, Chutes Too Narrow is also a powerful testament to pop music's capacity for depth, beauty and expressiveness.
    • 83 Metascore
    • 89 Critic Score
    Despite its eclecticism and relatively Dadaist leanings, Sung Tongs is a romantic album; romantic in its celebration of innocence and nonsensical shared knowledge, and the sweet, trusted idea that everything will be fine-- as if it hadn't always been.
    • 72 Metascore
    • 89 Critic Score
    The most entertaining and lushly melodic work of Morrissey's solo career.
    • 76 Metascore
    • 89 Critic Score
    This is a massive artistic statement from The Microphones, and though it may be cryptic-- even overwhelming at times-- it remains warm and open, thanks to the stunning intimacy that has consistently been the group's hallmark.
    • 78 Metascore
    • 89 Critic Score
    In a Beautiful Place Out in the Country runs like updated material from their majestic 1998 offering, Music has the Right to Children. And like that album's namesake, these five elegantly mournful melodies creep and explore like adored but unruly children, full of wide-eyed astonishment and naïveté.
    • 82 Metascore
    • 89 Critic Score
    This is a solid, intelligent album that a lot of people will love-- one that'll slot onto indie-crossover CD racks right beside the debuts from Interpol, Franz Ferdinand, and the Futureheads.
    • 83 Metascore
    • 89 Critic Score
    It's tempting to think of Art Brut as the foreign replacement for the catchy/clever observances Weezer used to traffic.
    • 78 Metascore
    • 89 Critic Score
    Deerhoof, an indie band who have released plenty of discombobulated pop and no wave albums, have lately turned toward accessible, foot-stomping rock. It worked on The Runners Four, but it works better and quicker on their new album, Friend Opportunity.
    • 77 Metascore
    • 89 Critic Score
    While Cryptograms presents its own obstacles, it's easily enjoyed as a whole. Memorable melodies and an awkward, charismatic narrator are often peeking from behind the dissonance-laden mists that self-consciously choke them.