Pitchfork's Scores

  • Music
For 8,452 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 3.2 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Liquid Swords [The Chess Box]
Lowest review score: 0 Liz Phair
Score distribution:
8452 music reviews
    • 93 Metascore
    • 100 Critic Score
    Essentially perfect... It remains a landmark that hasn't aged a day.
    • 93 Metascore
    • 93 Critic Score
    A classic tour from start to finish, the set’s only drawbacks owe more to the format than the music: Various incomplete or missing songs, a few over-saturated vocal tracks, five CDs worth of grotty audience tapes, and the fact that Dylan performs nearly the same set lists in nearly the same order at every stop of the tour, from Long Island to Stockholm. Thoroughly consistent, especially by Dylan’s later live standards, the repeated performances from the 22 represented shows might be seen as feature, not a bug.
    • 93 Metascore
    • 87 Critic Score
    Where Singles the movie was a romantic comedy with Seattle rock as its backdrop, its soundtrack, for anyone outside of the Pacific Northwest or the college radio universe, was a revelation. The 25th-anniversary reissue of the compilation revisits and further contextualizes this moment, with a bonus disc of demos, live versions, and other film ephemera never before issued on CD or vinyl.
    • 93 Metascore
    • 73 Critic Score
    By dividing the sessions into what amounts to an overview of his career, My Dusty Road detracts from the recently discovered source material, making it both an incredible find and a missed opportunity.
    • 93 Metascore
    • 85 Critic Score
    Spontaneity is woven into the fiber of every track; it's easy to hear how some of them may have begun with the same sounds and patterns before the musicians' hands worked their magic on the filters, EQ, and delay, rendering each take unique and unrepeatable.
    • 92 Metascore
    • 85 Critic Score
    For its breadth and complexity, [Blur 21] actually tells a simple story: Blur are a band that did an astonishing amount of different things really, really well.
    • 92 Metascore
    • 88 Critic Score
    The appeal of the Miles at the Fillmore material is obvious: This is an amazing band and they rip, but they never leave traditional ideas of rhythm and melody behind.
    • 92 Metascore
    • 85 Critic Score
    Lemonade is a stunning album, one that sees her exploring sounds she never has before. It also voices a rarely seen concept, that of the album-length ode to infidelity. Even stranger, it doesn’t double as an album-length ode to breaking up.
    • 92 Metascore
    • 80 Critic Score
    You can quibble with the inclusion of familiar material in a Bootleg Series package, but you can't argue--not yet, at least--with the unreleased depths of the Davis vault.
    • 92 Metascore
    • 89 Critic Score
    With Sunbather, Deafheaven have made one of the biggest albums of the year, one that impresses you with its scale, the way Swans' The Seer did last year.
    • 92 Metascore
    • 87 Critic Score
    If Brighten the Corners signaled a turn to the serious, the 32 outtakes and radio-session cuts compiled here give Pavement plenty of room to, as one B-side aptly puts it, "fuck around."
    • 92 Metascore
    • 84 Critic Score
    The end product, neatly compartmentalized into three style-segregated discs, is about as perfect a summary of Waits' appeal as can be found on the open market, a shadow greatest hits that offers testimony to his unique and diverse talents without recycling any of his album material.
    • 92 Metascore
    • 85 Critic Score
    Woody at 100 may be the most successful attempt to capture Guthrie's sprawling essence, but it's hardly the first.
    • 92 Metascore
    • 94 Critic Score
    Dizzee's despairing wail, focused anger, and cutting sonics places him on the front lines in the battle against a stultifying Britain, just as Pete Townshend, Johnny Rotten, and Morrissey have been in the past.
    • 92 Metascore
    • 85 Critic Score
    Cohen is not a songwriter who panders; he speaks above us, sometimes quite literally to higher forms, but also to universality instead of common denominator. Topicality, to him, remains somewhere around the Romantic era. But Cohen is also keen to experiment here.
    • 92 Metascore
    • 70 Critic Score
    Certainly Archives' first volume contains enough audio and visual stimuli to keep a Neil Young fan busy till the next edition arrives (presumably) in 2029.
    • 92 Metascore
    • 95 Critic Score
    While Channel Orange is stuffed with one-of-a-kind details and characters, its overall scope is grand, as is Ocean's.
    • 92 Metascore
    • 82 Critic Score
    The Satanist is a terrific coil of most everything Behemoth have ever done well, a strangely hopeful vision of hell wrested away from its very grip.
    • 92 Metascore
    • 85 Critic Score
    It still speaks for Cluster’s prescience, to render the mechanistic noise of early electronic devices and warm them up in such a manner so as to reveal that no matter the new technology, such components are ultimately human after all.
    • 92 Metascore
    • 69 Critic Score
    Therein lies the contradiction of The White Stripes. How do you combine the shit-hot with the "twee?" Elephant's shortcomings suggests the enterprise is futile.
    • 92 Metascore
    • 87 Critic Score
    It helps that Labor Days is as terrific a record as anyone could ask for, really, and you should buy it.
    • 92 Metascore
    • 83 Critic Score
    This reissue-- available in a 2xCD, budget-priced Legacy Edtion set and as a more elaborate $60 4xCD Deluxe Edition-- doesn't attempt anything quite so ambitious. Instead, the main impetus is bringing a remastered version of the original Bowie mix back to market.
    • 91 Metascore
    • 88 Critic Score
    Lorde captures emotions like none other. Her second album is a masterful study of being a young woman, a sleek and humid pop record full of grief and hedonism, crafted with the utmost care and wisdom.
    • 91 Metascore
    • 80 Critic Score
    Big Boi's Speakerboxxx coolly upstages its counterpart: though it, too, provides the world with one earthshaking single, it differs from The Love Below in that it also manages to maintain consistent brilliance and emotional complexity throughout.
    • 91 Metascore
    • 82 Critic Score
    Home, Like NoPlace Is There is emotionally relentless, but a relentlessly catchy record as well.
    • 91 Metascore
    • 90 Critic Score
    As a box set, Higher really does reinforce how creatively rich a band Sly & the Family Stone were, while making it seem almost unbelievable that their peak only lasted seven years and seven albums.
    • 91 Metascore
    • 77 Critic Score
    Unto the Locust does fall off a bit toward the end, but that's largely because the first four tracks add up to just under 30 minutes of the most exciting metal you'll hear all year.
    • 91 Metascore
    • 95 Critic Score
    The miracle of this album is how it ties straightforward rap thrills--dazzling lyrical virtuosity, slick quotables, pulverizing beats, star turns from guest rappers--directly to its narrative.
    • 91 Metascore
    • 91 Critic Score
    That Skinner is able to coax so much from a cliché-heavy, 50-minute examination of solipsism and self-pity is a tribute to his ability to reflect and illuminate life's detail.
    • 91 Metascore
    • 80 Critic Score
    There are no extras, outtakes or re-anythinged. But taking these 10 records in a row, chronologically, it is a striking reminder no single artist has had a run like Joni,