Pitchfork's Scores

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For 11,999 reviews, this publication has graded:
  • 41% higher than the average critic
  • 6% same as the average critic
  • 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: 100 Sign O' the Times [Deluxe Edition]
Lowest review score: 0 nyc ghosts & flowers
Score distribution:
  1. Positive: 9,815 out of 11999
  2. Mixed: 1,877 out of 11999
  3. Negative: 307 out of 11999
11999 music reviews
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    • 75 Metascore
    • 59 Critic Score
    Good Arrows
    Although Good Arrows is aimed in the direction of a synthesis between the band's two predominant elements, the result misses the target by just a bit.
    • 75 Metascore
    • 48 Critic Score
    Raw Data Feel
    Raw Data Feel might be the most confident album Everything Everything have ever released, but in a way that feels deeply hubristic. If this album were a person, it’d be that pompous, motormouthed philosophy undergraduate who treats seminars like extended soliloquies.
    • 75 Metascore
    • 57 Critic Score
    The New Abnormal
    For all its faults, The New Abnormal might capture how the Strokes are feeling: not ready to fade out, not primed for a comeback. Right now, they’re just way too tired.
    • 75 Metascore
    • 58 Critic Score
    Grand Blood
    The collection has the potential to appeal a number of different audiences--Converge die-hards, Motörhead speedfreaks, Southern Lord hardcore kids--but partially on account of its stuffiness, falls short of those marks.
    • 75 Metascore
    • 58 Critic Score
    OK Human
    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.
    • 75 Metascore
    • 49 Critic Score
    Spectre
    The stiffly prefabricated industrial-dance grooves that Laibach habitually fall back on don't quite cut it any more, and without a monolithic state to serve as the object of their satire, they're reduced to mocking political fatuity.
    • 75 Metascore
    • 58 Critic Score
    Brand New Abyss
    This valiant yet flawed endeavor feels more like a false start than a dead end, if the Blow keeps watering the ideas seeding the back half and stays away from karaoke.
    • 75 Metascore
    • 58 Critic Score
    Strays
    Strays lacks what what made the band great in the first place: believable songs and lyrics.
    • 75 Metascore
    • 56 Critic Score
    Milk Famous
    Milk Famous falters by creating an Uncanny Valley effect by adopting the most easily replicable aspects [of Spoon's sound] without maintaining any sort of human element or offering anything that's identifiable as their own.
    • 75 Metascore
    • 58 Critic Score
    Kurr
    Indeed, when the strings are given the spotlight, the strongest songs are created; ditherings with Theremin, xylophone, and scuttling drum machine are less impressive.
    • 75 Metascore
    • 59 Critic Score
    Me And Armini
    Torrini's voice is pleasant but also pretty anonymous, so it's therefore well-suited to any number of (mostly mellow) musical settings.
    • 75 Metascore
    • 48 Critic Score
    The Negatives
    Everyone needs to have a doomed romantic stage, but Lloyd's is going on twenty years.... The lyrical juvenilia is a bit of a shame, because this is a solid collection of pop songs otherwise.
    • 75 Metascore
    • 59 Critic Score
    A Grown-Ass Man
    [An] album that, like its predecessors, is as accomplished as it is stunted, waddling wadlessly towards its intentional exile on Cute Island.
    • 75 Metascore
    • 54 Critic Score
    One By One
    With every album, the Foos get slicker than before; the passion behind their songs waxed off by an ever-thickening veneer of overproduction. Right now, the Foos are so polished you can see right through them.
    • 75 Metascore
    • 58 Critic Score
    Live!
    Sadly, the album is a few years too late in coming. As an example, the guys, while opening for Lou Reed sometime back in 1996, pulled off an amazing rendition of the Velvets' "Ride into the Sun" with Reed and Wareham handling the vocals together. Where were all the tape recorders back then?
    • 75 Metascore
    • 60 Critic Score
    1-800 Dinosaur Presents Trim
    [A] muddled, occasionally fascinating album.
    • 75 Metascore
    • 56 Critic Score
    Seeker
    Cronin’s music has always been ingratiating, but that quality works against his material here, which yearns for something deeper or darker. There are clear limits to the affability that makes some of his previous singles so winsome.
    • 75 Metascore
    • 60 Critic Score
    Will This Make Me Good
    WILL THIS MAKE ME GOOD has plenty of gorgeous moments. Those moments will inspire the most generous listeners to wonder what this record could have been, if Hakim had given it more time to gestate, and maybe edited himself more.
    • 75 Metascore
    • 60 Critic Score
    Future Present Past [EP]
    There’s just enough to think about without getting fatigued, as the Strokes continue to toy with the sound of their late period.
    • 75 Metascore
    • 58 Critic Score
    Big Dark Love
    As the band churn up sound and fury, we can hear the strident strains of Balliet’s cello, scribbling suicide notes in the background and lending some gravity to an album that sounds, tragically, weightless.
    • 75 Metascore
    • 60 Critic Score
    Mosquito
    Mosquito is not without highlights, but it requires some patience to unearth them, because when this record is bad, it's loudly, brazenly bad.
    • 75 Metascore
    • 56 Critic Score
    Bought to Rot
    This turntable of pastiche never allows Grace and the Devouring Mothers to develop an identity beyond Against Me! side project or to scratch much more than the surface of these assorted styles. Owing in part to the trio’s shared experience and chemistry, this feels a lot like rock-band karaoke.
    • 75 Metascore
    • 57 Critic Score
    When Machines Exceed Human Intelligence
    No amount of boulder-sized low-end can disguise the fact that, even when these tracks work, they usually feel like they're missing something major. And that something is a vocalist.
    • 75 Metascore
    • 49 Critic Score
    The Gathering
    On The Gathering, though, the sonic vista is flattened out, resulting in a dreary, grayscale trudge of an album.
    • 75 Metascore
    • 58 Critic Score
    Kila Kila Kila
    Most of Kila Kila Kila is heavy in all the wrong ways and strangely earthbound.
    • 75 Metascore
    • 56 Critic Score
    Give
    Even its best moments sound like an amateurish reiteration of These Are the Vistas' quasi-jazz anarchy.
    • 75 Metascore
    • 54 Critic Score
    Forever
    You've got your acoustic guitar base, your occasional slide guitar fill, your Dylan-esque organ, your chug-a-lug drums, and your mildly catchy melodies. It would be offensive if it wasn't so obvious that Cracker doesn't aspire to much more than this sort of rustic middle-America mediocrity act.
    • 75 Metascore
    • 42 Critic Score
    Black Holes & Revelations
    This is the band's most autopiloted effort yet, a hacked-up last-gen rehash of said space jams, only now with greater emphasis on glitz and glam. Somehow Muse, always loveably lame, have managed to take a turn for the lamer.
    • 75 Metascore
    • 57 Critic Score
    Everything Was Beautiful, And Nothing Hurt
    The impulse to luxuriate in despair, to find the lushness in it, rather than shut it down and shove it away. He does that well on Everything Was Beautiful, but he’s already done it better.
    • 75 Metascore
    • 60 Critic Score
    Henry St.
    At the very least, it sounds terrific. With imaginative production from Sylvan Esso’s Nick Sanborn and accompaniment from a sterling cast of (largely) North Carolina ringers. ... But across the 42 minutes of Henry St., Matsson rarely responds to them in kind. To put it plainly, the writing is just bad, as though it were some slapdash afterthought to the strong instrumentals already in place.
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