Pitchfork's Scores
- Music
For 11,968 reviews, this publication has graded:
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41% higher than the average critic
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6% same as the average critic
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53% lower than the average critic
On average, this publication grades 2.9 points lower than other critics.
(0-100 point scale)
Average Music review score: 70
Highest review score: | Sign O' the Times [Deluxe Edition] | |
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Lowest review score: | nyc ghosts & flowers |
Score distribution:
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Positive: 9,787 out of 11968
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Mixed: 1,874 out of 11968
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Negative: 307 out of 11968
11968
music
reviews
- By Date
- By Critic Score
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- Critic Score
Her pursuits on softCORE prove that it’s possible for pop-punk and R&B to exist in the same space, which adds a fresh take on the nostalgia train steering the former’s resurgence. While the endeavor is admirable and audacious, its execution isn’t as seamless as the fluidity of Fousheé’s own voice.- Pitchfork
- Posted Nov 21, 2022
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Until now, Okay Kaya records have often felt like a compelling viewpoint in search of a sound, but on SAP, Wilkins’ arrangements have finally caught up to her free-roaming mind.- Pitchfork
- Posted Nov 21, 2022
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KD3’s most effective songs are the ones pulled toward opposite poles:.- Pitchfork
- Posted Nov 21, 2022
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- Critic Score
It’s the sound of an artist drawing from his repertoire while demonstrating that he is still looking to the future.- Pitchfork
- Posted Nov 18, 2022
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Its demanding hour-and-a-half runtime never pushes Dawson’s music to places it hasn’t gone before, even if it’s all executed with his typically handwoven sense of craft. The insights feel slightly stunted, as Dawson trades out the pained, everyday compassion that he’s conveyed so deeply in his more earthbound music for dystopian scenarios that can’t quite settle on a clear premise.- Pitchfork
- Posted Nov 18, 2022
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CAZIMI, Rose’s long-delayed third record, makes a complete song cycle out of those entanglements, with each cut reflecting the proper amount of neon.- Pitchfork
- Posted Nov 18, 2022
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The rhythms are stately and unsyncopated. The arrangements are lushly orchestral. The songs are mostly around six minutes long, proceeding at the unhurried pace of guided meditations. And, perhaps owing to the sense of communion-via-solitude espoused in the first track, the lyrics are concerned with “we” nearly as often as they are with “I”.- Pitchfork
- Posted Nov 18, 2022
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My Heart was Shoman’s breakout moment as a songwriter, and A Swollen River is foremost a triumph for Tenci, the band.- Pitchfork
- Posted Nov 17, 2022
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Parker’s latest may be his first live album, but it’s also the product of a mad scientist, cackling over a mixing board. Time is dilated, curated, edited, and intercut, and the very live-ness of a concert recording turns fascinatingly, fruitfully convoluted—even when the artists responsible are four players participating in the age-old custom of jamming together in a room.- Pitchfork
- Posted Nov 16, 2022
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Love’s rapture is on full display on the lyrics sheet, but throughout Myself in the Way, the chemistry feels lab-sterilized.- Pitchfork
- Posted Nov 15, 2022
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Die Cut / City Planning feels like a record without a center of gravity, no matter how enjoyable the drifting may be.- Pitchfork
- Posted Nov 14, 2022
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Listeners who have struggled to appreciate previous releases will hear more of the same in Comradely Objects. Those who are attuned, who find that the band’s smallest pivots can induce a feeling approaching euphoria, will encounter the album as a carnival of delights.- Pitchfork
- Posted Nov 11, 2022
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It’s got character, and more than that, it’s got energy: Springsteen has never sounded quite so lighthearted, so unburdened, on record.- Pitchfork
- Posted Nov 11, 2022
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Written and recorded during an extended stay on Ireland’s windswept west coast, the follow-up to Land of No Junction reaps lucidity from family bonding and fleeing the city in search of peace. With it, Frances’ psych-folk soliloquies arrive like postcards from a friend who’s just beginning to open up.- Pitchfork
- Posted Nov 10, 2022
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After a while, the songs on Alpha Zulu begin to mimic the experience of observing objects in a museum—you can admire all you want, but please don’t touch.- Pitchfork
- Posted Nov 10, 2022
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They each bring out some of each other’s best work. ... The tracks where Richard takes a back seat spotlight Zahn’s remarkable maturation as a composer; overcoming the slightly somnolent pleasantness of his previous work, he creates rich, mesmerizing arrangements that subtly shift the mood from piece to piece.- Pitchfork
- Posted Nov 9, 2022
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There are moments of considered writing and bursts of Drake at or near his mischievous best, but in its middle, the record becomes inert, making the bits of self-conscious misanthropy scan as strained rather than gleeful, as if the id could be focus-grouped.- Pitchfork
- Posted Nov 8, 2022
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Back Home provides heart-rending moments alongside its punk grit, expanding on Big Joanie’s sound without loosening their bite.- Pitchfork
- Posted Nov 7, 2022
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He’s got undeniable talent, refined taste, and a studio of cool friends. Yet, despite it all, Cometa fails to leave a lasting impression, convey a guiding sensibility, or, worse, clarify anything remotely idiosyncratic about Nick Hakim.- Pitchfork
- Posted Nov 4, 2022
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The band’s daring pays off when vocalist Julian Cashwan Pratt breaks his voice wide open on tracks that dig into sounds that are firsts for the band, and consummate what were previously flirtations with dance music.- Pitchfork
- Posted Nov 4, 2022
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More than a side project or a solo moniker now, Is It Going to Get Any Deeper Than This? joyfully cements the Soft Pink Truth’s era as a band—and one that throws a hell of a party.- Pitchfork
- Posted Nov 4, 2022
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Crybaby displays neither the maturity of a band in a retrospective era, nor the sense of fun of a band trying not to grow up; instead, there’s something loose-ended about it—like it’s a companion piece to all the mythmaking and nostalgizing, rather than the other way around.- Pitchfork
- Posted Nov 4, 2022
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Across Endure, Special Interest embellish the cornerstones they established on 2018’s Spiralling and 2020’s The Passion Of with gestures that wouldn’t sound out of place on ’90s radio.- Pitchfork
- Posted Nov 4, 2022
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There are shards of intriguing ideas buried in the album’s plodding acoustics and garish rock-pop confections, but Fletcher fails to excavate them.- Pitchfork
- Posted Nov 3, 2022
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Svengali feels like a milestone he’s been working toward for years—a smooth balance of anxiety and aggression, love and lust, confidence and vulnerability. Whether he’s pleading for love or manipulating it in the shadows, Cakes’s decisive presence ties it all together.- Pitchfork
- Posted Nov 2, 2022
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ILYSM isn’t a brilliant album, but it shines bright and it soothes an aching soul. In this case, that’s more than enough.- Pitchfork
- Posted Nov 2, 2022
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It’s unfortunate that she appears to have doubled down on this habit on her debut album. Often, songs sound more like tributes to her influences than reinventions.- Pitchfork
- Posted Nov 1, 2022
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Entergalactic is an unusual addition to Cudi’s discography, a small statement from a rapper who prides himself on big, aimless ones. It doesn’t wallow. It doesn’t rage. It just sort of lingers pleasantly. It’s the easy hang that Cudi usually works so hard to deny himself.- Pitchfork
- Posted Nov 1, 2022
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Reason in Decline doesn’t pose. Instead, these 10 tightly coiled songs rightfully treat those former concerns—bitter character studies of lovers and townies, jilted analyses of the overcrowded underground—like Clinton-era trifles, conflicts of no consequence in a time of autocrats and prospective apocalypse.- Pitchfork
- Posted Nov 1, 2022
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These songs bend and stretch like they’re toying with psych pop, even though the music is still delivered through Frankie Cosmos’ now-trademark minimalism.- Pitchfork
- Posted Oct 31, 2022
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