Pitchfork's Scores
- Music
For 11,999 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: 9,815 out of 11999
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Mixed: 1,877 out of 11999
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Negative: 307 out of 11999
11999
music
reviews
- By Date
- By Critic Score
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- Critic Score
Even when Beer herself sounds lovely, her explorations of vulnerability and self-definition tangle in stiff, obvious metaphors. The writing relies on flimsy framing devices, shoehorning a delicate narrative about hiding and healing into simplistic slogans.- Pitchfork
- Posted Mar 5, 2021
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Their 10th album, Medicine at Midnight, adds very little to their extensive catalog of interchangeable power pop and hard-rock sing-alongs. But you can’t hang them on their own music, because Foo Fighters would never dare to give you enough rope to do it.- Pitchfork
- Posted Feb 8, 2021
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The common threads celebrities try to establish with civilians have proven to be pretty flimsy throughout the past year, but they’re enough to give OK Human an emotional binding missing from nearly every album they’ve made in the past 20 years.- Pitchfork
- Posted Feb 1, 2021
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The album’s most tolerable songs fixate on the physical, a pulsating goo of slow drums and reverbed descriptions of skin mashed against skin.- Pitchfork
- Posted Jan 20, 2021
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His second album, Weird!, feels like an ode to his audience of self-identified misfits, but it isn’t as boundary-pushing as his look—and too often, it’s a shallow imitation of more popular songs you’re already tired of. Pop-punk isn’t dead, but Yungblud’s charm gets buried.- Pitchfork
- Posted Dec 17, 2020
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“Mr. Solo Dolo III” is only memorable because of its title, which like too much of Man on the Moon III is coasting on a legacy built a lifetime ago.- Pitchfork
- Posted Dec 16, 2020
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Mendes spends nearly every minute bowled over by the power of love. It’s nice to see his cup overflow so bountifully, but the near-constant awe quickly grows tiresome, especially when conveyed through clichés like, “Your body’s like an ocean, I’m devoted to explore you” and, “You’re my sunlight on a rainy day.”- Pitchfork
- Posted Dec 9, 2020
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These songs introduce nothing new to T.I.’s story or sound, but they’re exactly what you’d expect to find 13 tracks deep into a curated rap playlist on a streaming service.- Pitchfork
- Posted Dec 7, 2020
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None of Corgan’s definitive qualities as a musician—symphonic grandeur, needling immediacy—translate to his production, which burdens CYR with out-of-the-box anonymity; a Smashing Pumpkins album that sounds like it was handed off to a guy at the Genius Bar. The production’s clinical competency only highlights the assembly-line songwriting of CYR’s back half.- Pitchfork
- Posted Dec 1, 2020
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Uncool is not bad, and if anything, DISCO could stand more of it: to evoke actual disco in all its frisson and desperation, rather than the remembered-40-years-later version, full of kitsch and clip-art disco balls. The album, with a couple exceptions, has two modes: overly tasteful cruise-ship programming, and gauche rehashes.- Pitchfork
- Posted Nov 16, 2020
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The oddest development of Angelheaded Hipster is that most of the 20-plus participants opt to inject angst and torpor into Bolan rather than revel in his pomp and frivolity. ... Sadly, Willner’s last great tribute album tells us little about its subject.- Pitchfork
- Posted Nov 4, 2020
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The album is filled with nearly indistinguishable third-hand indie-pop songs.- Pitchfork
- Posted Oct 30, 2020
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clipping. never present themselves as resurrectors of horrorcore, and Visions’ songs are livelier than those on TEEATB, but the way the group embraces the style feels archaeological.- Pitchfork
- Posted Oct 26, 2020
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The parts of Shiver that strain to be fun and fresh can’t seem to break orbit from the grandiose mass of Sigur Rós, and the album leaves a sense of oppressive profundity in its bulky wake.- Pitchfork
- Posted Oct 21, 2020
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As bizarre as LANY’s pivot to country pop is, they still manage to infuse it with enough charm where it doesn’t fall flat.- Pitchfork
- Posted Oct 19, 2020
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- Critic Score
Ultra Mono charges into the discourse like a hobbyist at a rally. It’s not listening, just shouting. Not radical but restless. Not bad, just unnecessary.- Pitchfork
- Posted Sep 28, 2020
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There’s no question that van den Broek is an energetic and capable musician, but those qualities feel irrelevant when they show up in songs that might appear on a bad Shuggie Otis covers album. Anyone can make music that sounds like soul, but not all music has one.- Pitchfork
- Posted Sep 22, 2020
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Dapperton’s potential shines when he pushes himself, when it sounds like he’s making music for self-expression and fun, expanding his vocal range and messing around with reverb. He loses it inside of self-imposed pop formulas and strained symbolism.- Pitchfork
- Posted Sep 21, 2020
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There are moments on Detroit 2 that feel special, but Big Sean himself rarely has anything to do with them.- Pitchfork
- Posted Sep 10, 2020
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The album suffers from the same primary problem that plagued the original S&M: Metallica’s best songs, intricate and ambitious though they may be, are not actually well suited for the additional orchestrating they get here, precisely because they are plenty symphonic already.- Pitchfork
- Posted Sep 1, 2020
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Smile asks less of us. The confessions on this album feel like calculated dodges, every tepid disclosure immediately followed by triumph. ... Despite all her garbled platitudes, she remains a master at executing proven chart-topping formulas.- Pitchfork
- Posted Aug 28, 2020
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Sella once stood out for a demeanor that was both wide-eyed and jaded, torn between a yelp and a sigh. In Sickness & In Flames tilts too far toward the former; the Front Bottoms have lost their bite.- Pitchfork
- Posted Aug 26, 2020
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The Neon nestles the duo back into their musical comfort zone when they’re exceedingly capable of more.- Pitchfork
- Posted Aug 21, 2020
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Dreamland falls prey to the unfortunate mode of modern branding that conflates personal nostalgia with making a point. Glass Animals want to talk about The Way We Live, when it’s really just Let’s Remember Some Stuff.- Pitchfork
- Posted Aug 10, 2020
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Over a decade into his career, Greene is more than capable of producing technically interesting music that comes across as deceptively simple. Unfortunately, Purple Noon falters and feels too safe and lacking in substance.- Pitchfork
- Posted Aug 10, 2020
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Reading his explanations for choosing the guest rappers, it’s clear they moved him, but he might’ve been better off simply ceding them the space and stepping away. With this new tape, the Streets are officially back, but Skinner never convinces us why they should stay.- Pitchfork
- Posted Jul 16, 2020
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The Post-Nothing cuts fare best; they had fewer moving parts and thus didn’t suffer from being played sloppily or off-key.- Pitchfork
- Posted Jul 10, 2020
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- Critic Score
A record that takes bolder swings than its predecessor while falling even flatter.- Pitchfork
- Posted Jun 30, 2020
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Mordechai doesn’t quite commit to delivering fleshed-out songs, or to synthesizing Khruangbin’s influences into something new. It’s too busy to settle fully into your subconscious like the intercontinental ambience of Khruangbin’s 2018 breakout Con Todo El Mundo, but not substantial enough to satisfy more active listening.- Pitchfork
- Posted Jun 26, 2020
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Unlike other Bowie live albums, this doesn’t document a specific tour or phase. It’s just a quiet, pleasant footnote to a busy era.- Pitchfork
- Posted Jun 17, 2020
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