Pitchfork's Scores
- Music
For 11,999 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: 9,815 out of 11999
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Mixed: 1,877 out of 11999
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Negative: 307 out of 11999
11999
music
reviews
- By Date
- By Critic Score
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- Critic Score
The six-piece around Houck is more competent than combustible, a quality that’s long made Phosphorescent a good band to see for a 90-minute show but not one that makes you need to take them home.- Pitchfork
- Posted Feb 19, 2015
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Ryan Adams is a persuasively dark album, one defined by themes of struggle, instability, isolation, and regret.- Pitchfork
- Posted Sep 15, 2014
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- Pitchfork
- Posted Apr 10, 2014
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- Critic Score
There’s just enough to think about without getting fatigued, as the Strokes continue to toy with the sound of their late period.- Pitchfork
- Posted Jun 7, 2016
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- Critic Score
Bibio's [Ambivalence Avenue] had two things Look a Little Closer is missing, namely context and a true sense of discovery.- Pitchfork
- Posted Oct 1, 2012
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- Critic Score
The meat of the album is generally good, with strong vocals and decent songs, but there's enough gristle on this record that it ultimately obscures some of the pleasures of listening to it.- Pitchfork
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Taken as a whole, it’s a pretty, enveloping record that executes its modern influences with panache, though the intangible, purely aesthetic nature of Woolhouse’s vaguely downhearted emotional state makes it hard to appreciate Defo as anything other than luxurious ambient icing.- Pitchfork
- Posted Mar 21, 2013
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The Giveon of Take Time experimented with melody and challenged himself vocally; Give or Take stunts that growth in favor of secluding himself in his comfort zone.- Pitchfork
- Posted Jul 5, 2022
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Milosh’s crisp electronic soundscapes work mainly as contrast, immaculate bedding designed to melt away as his warm voice slithers in. At his best on Jetlag, Milosh builds up his tracks in the simple interest of pulling them back to let the vocal take over.- Pitchfork
- Posted Nov 26, 2013
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If Never Gonna Touch the Ground is less a party album and more an album as party--self-contained, relentlessly upbeat, rowdy, self-celebratory--too many of these songs come across as kegs of near beer.- Pitchfork
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Kiyoko’s debut won’t blow past anyone’s expectations, but it contains just enough intrigue and individuality to sustain them for a second shot.- Pitchfork
- Posted Apr 4, 2018
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Yeah Right has its charms, but they're echoes of a band Bleeding Rainbow used to be under a slightly different name.- Pitchfork
- Posted Jan 29, 2013
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Without that commitment to either pop immediacy or boundary-pushing weirdness, let alone being able to pull of both at once, Tussle are always going to feel like they occupy some kind of tepid middle-ground, however sharply their cymbals are recorded.- Pitchfork
- Posted Oct 8, 2012
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Perhaps they’re too-smart-for-their own good, but in the moments they can get over themselves, Althaea, at least for a flash, can offer more than just a thrill.- Pitchfork
- Posted Aug 21, 2017
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What’s missing from Panic is some kind of levity or the cutting humor that once personalized Hutchison’s self-loathing.- Pitchfork
- Posted Apr 11, 2016
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Like its predecessors, Three's Co. mixes the sun-soaked power pop proclivities of Teenage Fanclub with the sylvan jangle of Felt, though the Tyde too often seem afraid to really make waves.- Pitchfork
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They’re the sort of tunes that the Keys can pull off with ease, as satisfying as a perfectly tossed curveball landing in a beaten-up catcher’s mitt. But they also make you wish the Keys didn't spend the rest of Dropout Boogie lobbing underhand pitches right down the middle of the plate.- Pitchfork
- Posted May 13, 2022
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Is Octahedron the band's best album? No, but if you dig on MV's unrepentantly "big" and meandering suite-driven concept-album thing, you won't necessarily be disappointed.- Pitchfork
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Neither off-putting nor engaging, Client's debut occupies a rather uninteresting place in electropop's soft middle.- Pitchfork
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The struggle of the wealthy and talented white rapper was never especially sympathetic. And on Ben, his trials are mostly internal, the enduring struggle of man to find meaning and leave a legacy. This Macklemore is likely the most honest version we’ve seen to date.- Pitchfork
- Posted Mar 21, 2023
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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.- Pitchfork
- Posted Apr 19, 2023
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Even if the overall effect here isn't terribly original, there are still plenty of nice touches spread throughout these tracks to suggest Le Loup holds the potential to become more than an amalgam of well-regarded influences.- Pitchfork
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We're Animals still has haywire guitars, bushwhacking rhythms, and those homemade synthesizers we're always hearing about, but the real story is the band's conflicted strategy for melody.- Pitchfork
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The album is so densely packed that it’s easy to miss Marr’s overarching themes, a shame exacerbated by his habitual neglect to draw attention to his lyrics. A pleasantly flat, unassuming singer, he functions mostly as a conduit for his melodies, which is only a detriment on an album with so much potential thematic resonance.- Pitchfork
- Posted Jun 21, 2018
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There are solid hooks scattered all over No Life For Me, and they sound like they could've been knocked out in five minutes--each melodic note notches in the expected place over thrumming power chords and steady drums.- Pitchfork
- Posted Jul 20, 2015
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It’s all so easy to digest, so pitch-perfect, so safe. Let’s Start Here. clearly and badly wants to be hanging up on those dorm room walls with Currents and Blonde and IGOR.- Pitchfork
- Posted Feb 1, 2023
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This is clearly a band with some musicology under its collective belt, and its members have the technical skill to fold their diverse interests into guitar rock without forcing anything; the surprises come fast and, often, satisfyingly. But Haege's big voice puts a lot of emphasis on the prolix lyrics, which remain dismal.- Pitchfork
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Every darker, weirder impulse got glossed over while the music gives an agreeable shrug.- Pitchfork
- Posted Jun 14, 2016
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Mogwai’s cautionary approach all but drowns out the faint echoes of the once brave band struggling to get out from within.- Pitchfork
- Posted Jan 21, 2014
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Gravity the Seducer is a transitional album bearing the growing pains and separation anxiety that we usually associate with bands that are in between periods of true inspiration.- Pitchfork
- Posted Sep 13, 2011
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