Pitchfork's Scores
- Music
For 11,986 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: 9,803 out of 11986
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Mixed: 1,876 out of 11986
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Negative: 307 out of 11986
11986
music
reviews
- By Date
- By Critic Score
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- Critic Score
Dennis is an album of floor-fillers, especially in its first half, that plays out like a bad hangover, one song shifting into the next like Dante passing through the circles of Hell.- Pitchfork
- Posted May 1, 2024
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You still never know from one song what might appear on the next, or even where the song you’re listening to might go, and it keeps the music fresh even when it’s retreading hallowed ground.- Pitchfork
- Posted Apr 29, 2024
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Martin and Taylor don’t think in opuses, in grand gestures and proclamations, in magic or illusion. Hovvdy simply slows down time just long enough to capture the beauty in the moments that always threaten to float away if they’re not captured immediately and cherished.- Pitchfork
- Posted Apr 29, 2024
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Light Verse is a lively, relatively breezy album, despite its somber subject matter. He worked with a new crew of musicians, including bassist Sebastian Steinberg and multi-instrumentalist Davíd Garza, who make sure their flourishes never distract from the pith of his songs.- Pitchfork
- Posted Apr 29, 2024
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The eccentric versus the consummate professional; the maverick versus the safe bet. Yet for an album called Hyperdrama, actual tension—the kind of friction that once made Justice’s music feel so vital—is otherwise frustratingly hard to find.- Pitchfork
- Posted Apr 26, 2024
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On Delight, Jain grasps for a joy that lies tantalizingly out of reach, bringing melodies informed by Raga Bageshri into dazzling contact with modular synthesis and digital manipulation.- Pitchfork
- Posted Apr 25, 2024
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English Teacher can’t leave a song alone: Not a track goes by without a twist or complication, whether a time-signature change, an instrumental flourish, or a sudden wall of sound. .... Most promising, and core to This Could Be Texas, is the band’s interest in melding indie-prog, rock, folk electronica, and post-punk into a new package.- Pitchfork
- Posted Apr 25, 2024
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Musically, it feels like the first St. Vincent album since Marry Me presented without a unifying aesthetic: at various points, Clark incorporates Bond theme melodrama, Steely Dan-style prog, bouncy art pop and lechy industrial rock, making for what is arguably her loosest record, an exhale after years of fitting her songs into increasingly tight restraints. It’s a freedom that carries through to the album’s emotional content.- Pitchfork
- Posted Apr 25, 2024
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If Nature Morte was a Richter scale-busting apocalypse of a record, A Chaos of Flowers is the ominous aftershock, an extended reverberation that accrues its own awesome, unsettling force.- Pitchfork
- Posted Apr 24, 2024
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Channeling avant-garde techniques into melancholic folk-pop produces an album of tremendous psychological and emotional complexity, where the interior world is—even at its most desolate—full of vibrant, complicated life.- Pitchfork
- Posted Apr 24, 2024
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The whole 12-part suite unfurls like a gorgeous symphony, as if the entire Space Program only served as preparation for translating a work of cosmic complexity into a language we humans could understand.- Pitchfork
- Posted Apr 23, 2024
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Wiltzie spends a lot of the album’s runtime in his orchestral-drone comfort zone, but whenever the terrain threatens to sound too well trod, he pulls out something like “Dim Hopes,” with its twinkling constellation of vibraphones, or “Stock Horror,” which seems in the process of being ground up and devoured by the earth.- Pitchfork
- Posted Apr 23, 2024
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This is a bolder, clearer, preternaturally vivid iteration of their music.- Pitchfork
- Posted Apr 23, 2024
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On this one, they fall short of reinvention, which also means they are still—improbably, unmistakably—Pearl Jam.- Pitchfork
- Posted Apr 23, 2024
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For all its oblique melodies and wobbly production, Your Day Will Come evokes a strange kind of beauty.- Pitchfork
- Posted Apr 22, 2024
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Tortured Poets’ extended Anthology edition runs over two hours, and even in the abridged version, its sense of sprawl creeps down to the song level, where Swift’s writing is, at best, playfully unbridled and, at worst, conspicuously wanting for an editor.- Pitchfork
- Posted Apr 22, 2024
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Baldi muses, “Can you believe how far I have come?” Anyone who’s been listening since Turning On won’t either. Cloud Nothings have never sounded so committed to going the distance.- Pitchfork
- Posted Apr 18, 2024
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Perhaps an entire project of shapeshifting arrangements would be too personal for comfort, a too-clear window into Thornalley’s mind. For now, he seems content to keep us at arm’s length, his exquisite music a shield against the vulnerability of really being seen.- Pitchfork
- Posted Apr 18, 2024
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Rose’s voice is as pure and light as ever, but the most inspired part of This Ain’t the Way is how the album repositions that quiet register as silent rage.- Pitchfork
- Posted Apr 18, 2024
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Sometimes, the lyrics on One Million Love Songs unhelpfully pull you from your seat just when it’s just starting to get good. .... But the album masters melancholy anyway, using careful guitar and vocal flourishes to make the music’s embryonic self-consciousness feel urgent, like it’s yours.- Pitchfork
- Posted Apr 18, 2024
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It settles for being a mildly adventurous AAA rap album made by two friends searching for fun in heartbreak.- Pitchfork
- Posted Apr 18, 2024
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Yes, girl in red is capable of another skin-deep album about crushes and self-doubt. But it would be far more interesting to see her attempt sincere emotional depth.- Pitchfork
- Posted Apr 16, 2024
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There’s nothing woefully timestuck about these sensitive dance songs, though. They’re made by someone living passionately in the moment and rushing into the future at breakbeat speed.- Pitchfork
- Posted Apr 15, 2024
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Cummings linked with Topanga Canyon vintage king and session ace Jonathan Wilson, who freed her to focus on not holding back. That is commendable, but it results in an album that has the dynamic range and limited application of a strong flashlight. You recognize its incredible power, but you’d do best not to stare into the source for very long.- Pitchfork
- Posted Apr 12, 2024
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Don’t Forget Me is, in many ways, its inverse: It inhabits parties and frantic nights out, yet the tracks carry the steady, guitar-backed propulsion of a road movie. Rogers, at last, sounds sure of her destination.- Pitchfork
- Posted Apr 12, 2024
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The incarnation may be new, but the music’s underlying spirit, its animating force, is very much the same.- Pitchfork
- Posted Apr 11, 2024
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In A LA SALA, each member of the trio has several opportunities to shine while making each track sound individual, and it all comes together cohesively because Khruangbin know where their strengths lie.- Pitchfork
- Posted Apr 10, 2024
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The strongest songs sparkle with a morose charm. On “Dumb Guitar” and “Shipwreck,” Balency-Béarn’s plainspoken singing wafts over murky lounge-pop, giving The Sunset Violent some much-needed friction.- Pitchfork
- Posted Apr 8, 2024
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The Libertines may be running low on originality, but they can still produce a strong tune when the muse strikes.- Pitchfork
- Posted Apr 8, 2024
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It’s astonishing what he can do with so little. Marci keeps ample daylight between the instruments in his beats, leaving plenty of elbow room for his incredibly dense writing. He’s in top form here, spinning superhuman mafioso tales from impenetrable thickets of rhymes that contract and expand like gasses changing form.- Pitchfork
- Posted Apr 5, 2024
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