Pitchfork's Scores

  • Music
For 6,515 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 Exile On Main Street [Reissue]
Lowest review score: 0 Liz Phair
Score distribution:
6,515 music reviews
    • 87 Metascore
    • 90 Critic Score
    What follows is surprisingly full and wide ranging, almost as much as the Bruegel painting that graces the album's cover.
    • 87 Metascore
    • 85 Critic Score
    Complex enough to reward repetitive listening and compact enough to encourage it, Blue Record is one of the year's most generous hours.
    • 87 Metascore
    • 94 Critic Score
    You can feel the warmth pouring out of the music.
    • 87 Metascore
    • 82 Critic Score
    A flawed, overlong, hypocritical, egotistical, and altogether terrific album.
    • 87 Metascore
    • 80 Critic Score
    Drawbar Organ / Quiet Hour takes that fascination [with dub] and grinds it in the back molars, spitting out something lumpy, infirm, and wonderfully transformed.
    • 87 Metascore
    • 91 Critic Score
    You get lost in it, and if you're wired a certain way that mixture of desire and confusion is easy to map on to the wider world. For 22 years, the only way to get there was through Loveless and its associated EPs; now there's another path, one many of us never expected to find.
    • 87 Metascore
    • 80 Critic Score
    If you're not inclined toward acoustic improvisation or unstructured abstraction, Orcutt won't change your mind. But anyone can admire the raw soul of his playing and the way he shoots out ideas in real-time, reacting so quickly it's as if he's creating a new language as he speaks it.
    • 87 Metascore
    • 85 Critic Score
    Yet another leap forward for a band that has constantly pushed itself in new directions.
    • 87 Metascore
    • 80 Critic Score
    While its peaks fall just a whit short of those on its predecessor, Decoration Day's inward journeys nicely balance out Southern Rock Opera's bombastic expansiveness, and further confirm the Drive-By Truckers' status as the most poetic and insightful Southern rockers in existence today.
    • 87 Metascore
    • 86 Critic Score
    The album naturally lacks the shock of the new, the jolt of Boy in Da Corner-- instead, it's a consolidation of his strengths, lyrically and sonically, and a more satisfying listen than its predecessor.
    • 87 Metascore
    • 84 Critic Score
    The Bad Seeds sound even edgier and more sophisticated on Dig, Lazarus, Dig!!!, providing a fitting pulpit for their bandleader's ravings.
    • 87 Metascore
    • 77 Critic Score
    Southeastern is easily Isbell’s best solo album--his most richly conceived and generously written. If it’s not quite the album that lives up to his considerable talents, it’s mostly the music that’s to blame.
    • 87 Metascore
    • 84 Critic Score
    The Dirty South is more consistent and cohesive song-for-song, its wide scope more public than personal.
    • 87 Metascore
    • 78 Critic Score
    Iyer and his cohorts have spun the piano trio format into great art here, acknowledging their contemporaries and their musical ancestors.
    • 87 Metascore
    • 80 Critic Score
    The urgency and vigor he packs into the unplugged punk of Workbook--the frequent knuckle-scraping attack of his strumming, his refusal to whisper or withhold--are what make the album a testament to tension rather than hesitance.
    • 87 Metascore
    • 88 Critic Score
    LP1
    FKA twigs is not a masterful lyricist, at least not yet; some of her couplets feel clunky, like she's grasping in the dark for rhymes and coming up with the objects closest to hand ("If the flame gets blown out and you shine/ I will know that you cannot be mine"). But when she zeroes in on the essence of a thing, she hits hard.
    • 87 Metascore
    • 85 Critic Score
    Cold House takes a fantastic batch of songs and intelligently mixes in cutting edge electronic elements a la Autechre and Nobukazu Takemura, a couple of west coast underground hip-hop artists, and some delicate backing arrangements, and creates one of the most innovative releases of the past year.
    • 87 Metascore
    • 80 Critic Score
    Things We Lost in the Fire's high points are, without question, the best they've done.
    • 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.
    • 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.
    • 87 Metascore
    • 82 Critic Score
    Now, More Than Ever is both hushed and sprawling, serene and agitated, jumpy and constant.
    • 87 Metascore
    • 86 Critic Score
    This stripping down and moving away from easily definable mood makes And Their Refinement of the Decline a bit harder to grasp initially than any previous SOTL record.
    • 87 Metascore
    • 83 Critic Score
    It's not Les Savy Fav's most immediate record, nor is it their best.
    • 87 Metascore
    • 80 Critic Score
    Though thoroughly enjoyable, the album isn't always riveting, either, and occasionally the attention does stray.
    • 87 Metascore
    • 91 Critic Score
    Like all lasting records, Franz Ferdinand steps up to the plate and boldly bangs on the door to stardom. There's no consideration for what trends have just come and gone. There's no waffling or concessions for people who won't get it.
    • 87 Metascore
    • 83 Critic Score
    This is music that benefits from being heard loud and/or on headphones in the same way couches are best experienced by actually sitting down in them instead of just brushing your fingers against the upholstery as you leave the room.
    • 87 Metascore
    • 87 Critic Score
    xx
    It is so fully formed and thoughtful that it feels like three or four lesser, noisier records should have preceded it. The xx didn't need a gestation period, though xx is nuanced, quiet, and surprising enough that you might.
    • 87 Metascore
    • 81 Critic Score
    For all its psychedelic tendencies and marketing trappings, Goat's World Music feels as assured and unfussy as folk music.
    • 87 Metascore
    • 94 Critic Score
    Sigur Rós effortlessly make music that is massive, glacial, and sparse..... They are the first vital band of the 21st Century.
    • 87 Metascore
    • 84 Critic Score
    They've also outgrown the "garage," pushing things into the richer, more sophisticated outdoors.