Pitchfork's Scores

  • Music
For 7,427 reviews, this publication has graded:
  • 46% higher than the average critic
  • 5% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 3.4 points lower than other critics. (0-100 point scale)
Average Music review score: 68
Highest review score: 100 Sticky Fingers [Deluxe Edition]
Lowest review score: 0 Travistan
Score distribution:
7427 music reviews
    • 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.
    • 87 Metascore
    • 88 Critic Score
    The record will remain, something that channels the past but sounds like little else right now, an album about rediscovery that's situated in the constantly-shifting present.
    • 87 Metascore
    • 84 Critic Score
    Although they've expanded their sound, the Arcade Fire's transition into extroversion isn't always smooth or graceful. Neon Bible is full of clunky lyrics, revealing Butler's tendency to overstate and sensationalize.
    • 87 Metascore
    • 78 Critic Score
    Tthere’s a palpable narrative here, a sense of loss and stillness, and it reanimates Dalton, if only for a moment. It’s good to have her back.
    • 87 Metascore
    • 100 Critic Score
    Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene, Wilco's aging new album is simply a masterpiece; it is equally magnificent in headphones, cars and parties.... No one is too good for this album; it is better than all of us.
    • 87 Metascore
    • 79 Critic Score
    It's among the most fascinating music I've heard and deserves a listen by anyone with even the remotest interest in the possibilities of sound.
    • 87 Metascore
    • 81 Critic Score
    Phrenology completely realizes The Roots' talents and potential, maintaining its cohesiveness despite its many disparate elements.
    • 87 Metascore
    • 86 Critic Score
    Celestial Lineage feels like the contemporary American scene's defining statement after San Francisco group Weakling's seminal 2000 offering Dead As Dreams.
    • 87 Metascore
    • 80 Critic Score
    Within these songs is the struggle in realizing that self-esteem comes more from estimable acts than outside validation. Is Survived By should receive plenty praise anyway, but Touché Amoré lead by example.
    • 87 Metascore
    • 78 Critic Score
    Ultimately, the album’s heady diversity originates in Hval’s malleable voice, which alters style, approach, timber, and tone from one measure to the next.
    • 87 Metascore
    • 86 Critic Score
    The bulk of The Suburbs focuses on this quiet desperation borne of compounding the pain of wasting your time as an adult by romanticizing the wasted time of your youth.
    • 87 Metascore
    • 83 Critic Score
    These two releases [Gish and Siamese Dream] still resonate, as both a nostalgia fix underscoring how it was so easy to fall for Smashing Pumpkins in the first place, and as the best introductions to their music any newcomer could want.
    • 87 Metascore
    • 81 Critic Score
    Being from her country means contending with the legacies of some of West Africa’s most internationally successful artists; at this point, I’d say Traoré fits comfortably alongside her forbears.
    • 87 Metascore
    • 85 Critic Score
    As much as Blackstar shakes up our idea of what a David Bowie record can sound like, its blend of jazz, codes, brutality, drama, and alienation are not without precedent in his work.... Bowie will live on long after the man has died. For now, though, he’s making the most of his latest reawakening, adding to the myth while the myth is his to hold.
    • 87 Metascore
    • 93 Critic Score
    It’s the dazzling culmination of Jamie xx’s last six years of work, gathering up elements of everything he’s done--moody ballads, floor-filling bangers, expansive and off-kilter collaborations with vocalists--and packing them tightly into a glittering ball that reflects spinning fragments of feeling back at us.
    • 87 Metascore
    • 72 Critic Score
    But while the album is stylistically and sonically brilliant, it still suffers from the primary flaw of the band's four previous albums: Their songwriting hasn't made the same leap as their chops.
    • 87 Metascore
    • 81 Critic Score
    The Creek Drank the Cradle is made of small epiphanies.
    • 87 Metascore
    • 82 Critic Score
    Voices From the Lake is a triumph of care and exactitude, the kind of well-executed work of art that feels effortless despite its obvious complexity.
    • 87 Metascore
    • 85 Critic Score
    What makes this whole thing work in an album context is that all the thematic and sonic pieces fit together-- these weird, morning-after tales of lust, hurt, and over-indulgence ("Bring the drugs, baby, I can bring my pain," goes one refrain) are matched by this incredibly lush, downcast music.
    • 87 Metascore
    • 81 Critic Score
    Even if we're not taken by the subject matter, we're taken by how beautifully and personally Sufjan is taken by it.
    • 87 Metascore
    • 89 Critic Score
    Kala is clattering, buzzy, and sonically audacious.
    • 87 Metascore
    • 89 Critic Score
    Phantom Power sees the down-to-earth Welsh band moving away from genre-hopping and rough juxtapositions, and beginning to blend their influences into an evenly spread melange that simply sounds like a highly evolved pop band.
    • 87 Metascore
    • 94 Critic Score
    Part Lies makes a good case that their later period has value too, and that the group had raised the bar so high for themselves that merely being very good could be interpreted as a failure.
    • 87 Metascore
    • 85 Critic Score
    Every song on this singles/rarities set, for better or worse (and I’d argue it’s much more for the better), even the cover of Joy Division’s "Disorder", is instantly identifiable as Bedhead. They staked out the boundaries of an aesthetic, and they were not particularly wide boundaries; differences between their albums are subtle. But they explored every inch of terrain inside of them.
    • 87 Metascore
    • 84 Critic Score
    Their peppy, gleeful, headstrong guitar pop sounds a hell of a lot like yesteryear's Britpop.
    • 87 Metascore
    • 82 Critic Score
    A formula ain't necessarily a bad thing: Think of it as a carefully considered training technique, designed to flex and strengthen certain sonic muscles in aid of achieving ever more impressive results.
    • 86 Metascore
    • 88 Critic Score
    On Let England Shake, Harvey is not often upfront or forceful; her lyrics, though, are as disturbing as ever.