Pitchfork's Scores
- Music
For 11,992 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: 9,808 out of 11992
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Mixed: 1,877 out of 11992
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Negative: 307 out of 11992
11992
music
reviews
- By Date
- By Critic Score
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- Critic Score
Central City is a distillation of Freedia’s pump-up talents and endless charm.- Pitchfork
- Posted Aug 8, 2023
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Ooh Rap I Ya plays it entirely too safe, feeling less like a biting subversion of nostalgia than a straight-up “remember when.” This could have been saved by meatier hooks, a more realized emotional arc, or production choices that didn’t feel as if they were well and fully covered by Neon Indian and Washed Out over a decade ago.- Pitchfork
- Posted Aug 8, 2023
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If They Live in My Head lacks the woozy danceability of vintage Tetras, it doesn’t skimp on the political bite.- Pitchfork
- Posted Aug 8, 2023
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When, on “The Same Again,” she sings, “Move slow when you speak, so you really get to say what you’re meaning,” sounding as if her face is scrunched into a grimace, she turns a fairly oblique phrase into a razor-sharp barb. These moments, although far between, suggest that A New Reality Mind could have been a more dynamic record if it had zeroed in on Kenney’s intentional, suggestive performances.- Pitchfork
- Posted Aug 8, 2023
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For the first time in a while, it sounds like they’re listening to what’s happening in clubland and asking themselves not what they can poach for the charts, but what they can bring to the table.- Pitchfork
- Posted Aug 7, 2023
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The complexity of the music helps to make up for the comparatively placid lyrics, but Mackey’s writing is most interesting when she zooms in on domestic bliss.- Pitchfork
- Posted Aug 7, 2023
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“True Love,” “Up,” “Everybody’s Saying That,” and “Love Is Enough” bob to the same Chic formula: skanking guitar, twangy bass, canned strings. It’s a solid formula, but the textural sameness makes more idiosyncratic tracks like “Give Me Your Love” stand out.- Pitchfork
- Posted Aug 4, 2023
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Jim O’Rourke’s soundtrack is perfectly calibrated to this unforgiving space squashed between parched fields and blown-out sky. His palette—detuned piano, watery vibraphone, and a muted, amorphous shimmer that might be harmonium or synthesizer—matches the film’s dusty tones of beige and pewter and mobile-home brown.- Pitchfork
- Posted Aug 3, 2023
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Cosentino sounds strongest when she gives herself permission to veer from her influences and find her own voice.- Pitchfork
- Posted Aug 3, 2023
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Georgia’s willingness to experiment is promising, but it’s unfortunate that Euphoric takes such a predominantly safe journey. As on Seeking Thrills, some songs also succumb to vague lyrics that resemble placeholders.- Pitchfork
- Posted Aug 3, 2023
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It’s tempting to speculate that there are more versions like that out there, just waiting to be discovered. Blackbox Life Recorder, the EP, might seem relatively modest, but the black box that is Aphex Twin’s extended universe remains delightfully unfathomable.- Pitchfork
- Posted Aug 2, 2023
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The Loveliest Time is a solid counterpart to its sister album, trading quiet, introspective power for brassy, headlong joy.- Pitchfork
- Posted Aug 2, 2023
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Coltrane reaches at once into the future and the place where music began. He touches the primeval and follows along with the changes.- Pitchfork
- Posted Aug 1, 2023
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For some reason—fear of boring his fans, obedience to the preferences of the streaming services, a career focused on club bangers—Malone won’t let these songs breathe. The result is an album that’s overstuffed and undercooked.- Pitchfork
- Posted Aug 1, 2023
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Constantly varied yet consistent to her core sound, Love Hallucination is Lanza’s most fleshed-out album to date. She simply sounds more comfortable luxuriating in it all.- Pitchfork
- Posted Jul 31, 2023
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Mitchell’s voice is gorgeous and rich throughout, a piece of high-pile cotton velvet warmed in the daylight. She renders “Both Sides Now” with the wisdom of survival, the “up and down” having still somehow delivered her here. But too often, her patient approach is swallowed by the tide of well-intentioned boosters, associates who make Mitchell feel like little more than an honorary guest at her own party.- Pitchfork
- Posted Jul 31, 2023
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All he has to back himself up is the production. Yet even that is so safe. He waters down the cutting-edge sounds of the past and, in the process, flattens his Southerness to the point that he feels like he’s from nowhere.- Pitchfork
- Posted Jul 31, 2023
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The pirate-radio conceit simultaneously buoys and constrains an album bursting with ideas. Its themes help rapid-fire changes in direction cohere, but fully fleshed-out tracks sit awkwardly within a headlong spin across the radio dial.- Pitchfork
- Posted Jul 28, 2023
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None of these songs sound like demos or leftovers, but Flying High doesn’t reach for the stars, either. This is an exhibition bout for the MCs—the pairings are solid but unsurprising—and, like most Alchemist solo projects, it concludes with instrumental versions of each song.- Pitchfork
- Posted Jul 28, 2023
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It [Mike Dean's "The Lure"], too, deserved a better show, and sets the tone for the songs to come, all sexual synth tracks that deploy dramatic minor chords to hint at a seamy undertone.- Pitchfork
- Posted Jul 28, 2023
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It’s the textbook definition of a low-stakes mid-career rap album, a place for one of the genre’s icons to show he’s still in decent fighting shape.- Pitchfork
- Posted Jul 28, 2023
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A fresh sense of discovery also suffuses I Am Not There Anymore’s more straightforward songs.- Pitchfork
- Posted Jul 28, 2023
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- Pitchfork
- Posted Jul 28, 2023
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Steeped in the careening energy of surf-rock and mid-’60s Jazzmaster tones but open to any stylistic fancy that crosses Falcon Bitch and Gumball’s radar, When Horses Would Run is an unusually raucous and idea-stuffed debut.- Pitchfork
- Posted Jul 27, 2023
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The result is some of the sharpest, most clear-eyed songwriting to date. Despite the Day-Glo exterior, Pure Music largely operates in a lyrical mode born out of the group’s time as a more conventional guitar-driven project.- Pitchfork
- Posted Jul 25, 2023
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True to form, the other Kens on the soundtrack contribute nothing—doze through Dominic Fike’s noodly, acoustic “Hey Blondie,” which exists halfway between “Your Body Is a Wonderland,” and “Hey Soul Sister,” and the Kid Laroi’s howling emo-trap ballad “Forever & Again.” But the girls often can’t prove they’re worthy of main character status either.- Pitchfork
- Posted Jul 21, 2023
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Albarn plays the part of heartbroken confessor, but these meticulously polished songs conjure something more real than anguish: the dulling of losses, the warm aura of midlife decline, and the fading belief, with advancing years, that crisis serves to raise the curtain on your next act.- Pitchfork
- Posted Jul 20, 2023
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They say you have to see egg punk live to really get it. But the goofy, revved-up glory of Super Snõõper comes pretty close.- Pitchfork
- Posted Jul 19, 2023
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At its best, i care so much that i dont care at all captures the ecstatic, uncomfortable intensity of the joy and turmoil of being young. And if it ever feels awkward or fumbling, well, that’s an essential part of being a teenager too.- Pitchfork
- Posted Jul 18, 2023
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Classic rock is a genre that’s endured through its mythology. With Western Cum, Cory Hanson gives us some new myths to believe in.- Pitchfork
- Posted Jul 18, 2023
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