Pitchfork's Scores
- Music
For 12,011 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: 9,827 out of 12011
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Mixed: 1,877 out of 12011
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Negative: 307 out of 12011
12011
music
reviews
- By Date
- By Critic Score
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- Critic Score
For a six-track EP, She Is Coming is remarkably repetitive, but it does manage a few OK spots.- Pitchfork
- Posted Jun 5, 2019
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- Critic Score
The good news is that they're too skilled, experienced, and important to make a record that's just a mess, and for a while there's nothing so terrible about this one.- Pitchfork
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- Critic Score
That the Watson Twins blend seamlessly into these backdrops, however, is far from a compliment. Of course it's lovely to an extent when the girls harmonize, but neither owns a voice strong enough to convey much besides a languid aridity.- Pitchfork
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- Pitchfork
- Posted Mar 23, 2016
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- Critic Score
The 20/20 Experience 2 of 2 is not only superfluous, it actually erases some of the gains made by its predecessor as it plays into the worst trappings of self-indulgence.- Pitchfork
- Posted Oct 1, 2013
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- Critic Score
War Stories is the most unadventurous, most typically rock UNKLE release to date.- Pitchfork
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- Critic Score
The noxious muck on evidence here obscures most of what made his past music so singular.- Pitchfork
- Posted Feb 9, 2012
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- Critic Score
Its only commitment is to a subtle antagonism, and it ignores pretty much any worthwhile development in pop, rock, electronic, or hip-hop music since the turn of the century.- Pitchfork
- Posted Oct 6, 2011
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- Critic Score
Affectionate but misguided tribute that’s nowhere close to satisfying.- Pitchfork
- Posted Feb 8, 2019
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- Critic Score
On Yungblud, Harrison leans almost exclusively into saccharine pop-rock, making this his most monotonous and least distinctive record.- Pitchfork
- Posted Sep 8, 2022
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Unfortunately a whole album of similarly DJ-pitched material, all the quote-unquote pop frills shaved off, wouldn't have allowed blog readers to devote the few days their attenuated attentions can muster for He Was King's singles, before the next this-is-kind-of-okay-I-guess electro-pop album arrives to distract them.- Pitchfork
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- Critic Score
The music is more unmemorable than bad, though occasionally Gonzalez's inexperience, which seems to limit what Trapanese can do as well, shows.- Pitchfork
- Posted Apr 26, 2013
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- Critic Score
The Saga Continues is full of competent if forgettable rapping straight out of the Wu-Tang manuscripts, and each Wu rapper does a serviceable job mustering up shades of their primes, in function. The verses don’t do what they used to, but at a distance they move in the same ways.- Pitchfork
- Posted Oct 23, 2017
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My biggest gripe about Lovage is that it finds a number of clearly talented artists constructing the same song continually without variation.- Pitchfork
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After a few tracks, it becomes increasingly more difficult to ignore the pathetic lyrics and boring flows-- even the production seems redundant, bland, and horribly imitative and regressive.- Pitchfork
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- Critic Score
Plays Music offers up breezy, instrumental jazz-rock that seems to be little more than the reheated leftovers of Tortoise's TNT, The Sea and Cake's The Fawn, Dave Pajo's Aerial M debut, and occasionally, Gastr del Sol's Camofleur.- Pitchfork
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The King & I is simultaneously too stingy and too indiscriminate with its star attraction, denying fans new verses yet projecting his hologram raps over every song until the reflexive thrill of hearing one of rap’s greatest voices is extinguished.- Pitchfork
- Posted May 23, 2017
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Concocting the world's finest excrement-related rhymes, Rebirth is most definitely a flop, terribly unsexy, and contains surprisingly few shit jokes.- Pitchfork
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A charitable perspective might see the band's embrace of pub rock as a conscious rejection of political correctness in the form of so-called good taste; the reality is that it seems like a last-ditch attempt to aestheticize a sublime lack of inspiration.- Pitchfork
- Posted May 13, 2015
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- Critic Score
Despite his chart success with Drake, many of 2 Chainz' pop maneuvers feel tone-deaf.- Pitchfork
- Posted Aug 29, 2012
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- Critic Score
On disc, Astral Weeks Live at the Hollywood Bowl is a bland, bluesy celebration you can afford to miss.- Pitchfork
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- Critic Score
The music is pretty but still--without many shifts in color or tone, they sit there like flat, two-dimensional objects.- Pitchfork
- Posted Feb 27, 2012
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- Critic Score
A letdown after Fables; whether haughty, homesick, or ha-ha, on the way toward frankness, the album gets bogged down in simplicity.- Pitchfork
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- Critic Score
Since Bohemian Rhapsody is a soundtrack targeted at a wide audience, not an archival release suited for collectors, not all of the Live Aid performance is here; “Crazy Little Thing Called Love” and “We Will Rock You” are missing. The omissions underscore how superfluous Bohemian Rhapsody is.- Pitchfork
- Posted Oct 25, 2018
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It's not the music that sinks Edward Sharpe & the Magnetic Zeros, it's those lyrics: well-intentioned, certainly, but as deep as the bowl on a one-hitter.- Pitchfork
- Posted Aug 9, 2013
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Sadly, they seem content for the kind of mediocrity that designates you as the headliner Firefly and Bonnaroo call when someone else isn’t available.- Pitchfork
- Posted Oct 20, 2016
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- Critic Score
All of Black Cascade pounds away with a similar notion for four tracks and 50 minutes, offering four black metal tides that occasionally shift into some texturally bankrupt, wintry drone.- Pitchfork
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- Critic Score
Whatever pleasure can be generated from Bellamy’s admirable melodic sense and overblown hooks is negated by Muse’s insistence that they’re profound rather than fun.- Pitchfork
- Posted Jun 9, 2015
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This is ultimately mediocre music that sometimes recalls the sound and feeling of excellent music, and the only thing that Heidecker brings to the table is a smirking irony that is not particularly appealing when separated from hilarious comedy.- Pitchfork
- Posted Apr 4, 2011
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