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
Reasonable Woman, the singer’s 10th studio album, continues the trend of inconsistency. Over manicured synth arrangements and beat drops blown up to eye-watering proportions, Sia belts out self-help anthems that stick to formulaic, dated sounds. It’s outsized feel-good music with little worth feeling good about.- Pitchfork
- Posted May 6, 2024
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Both would-be singles, “Fever” and the Bas-featuring “Stealth Mode,” feel like half a record abandoned before being rounded into its ideal shape. (The former is slinking and still mostly effective, especially after it recovers from a clumsy opening line that for a second recalls his infamous, room-clearing verse on Jeremih’s “Planez.”) Elsewhere, attempts at verbal pyrotechnics become indistinct.- Pitchfork
- Posted Apr 29, 2024
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The Tortured Poets Department: The Anthology, maximally bloated with 15 (15!) additional songs. Those that stand out mostly do so for the wrong reasons.- Pitchfork
- Posted Apr 22, 2024
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If it’s a bid for dance-pop stardom, then the big singles—finely crafted though they are—are too few, too timid. If it’s meant as a deep-house long-player, it’s paddling in the shallow end.- Pitchfork
- Posted Apr 2, 2024
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- Pitchfork
- Posted Apr 2, 2024
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Everything I Thought It Was brims with a misplaced confidence that can only be described as Timberlakean, laboring for such a long, long runtime under the misapprehension that a risk-averse mop bucket of last decade’s trending sounds is gonna hit through the sheer force of its performer’s waning charisma.- Pitchfork
- Posted Mar 20, 2024
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I’d argue that 4L and Up 2 Më are bolder than anything here: Yeat’s older projects threw you into the deep end of his magma flows and fuzzy world-building and asked that you either get it or don’t. An album this safe and familiar will be great for packing out bigger concert venues but only makes his musical identity more nebulous.- Pitchfork
- Posted Feb 27, 2024
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There is an uncanny, even hollow air to the album. It can feel a bit like watching a Super Bowl commercial: the budget is all there on the screen, the lighting and set dressing and sound design just so, but you can’t shake the nagging sense that there is no center, just a clot of references without a referent.- Pitchfork
- Posted Feb 15, 2024
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An unbowed creative spirit ran through Perry’s gloriously multifarious career; on King Perry he sounds frustratingly submissive, a passing supplicant in someone else’s court rather than a king on his throne.- Pitchfork
- Posted Feb 6, 2024
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Stripped of the urge to reinvent themselves, Green Day hope to ride into the sunset as America’s most affable punks. Even the album’s one sincere stab at acting the band’s age, a reflection on parenthood called “Father to a Son,” seems to give up halfway through, content to repeat its title rather than dig deeper.- Pitchfork
- Posted Jan 23, 2024
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He’s never sounded more checked out. Even Cudi doesn’t seem to believe his own hype anymore. To its credit, INSANO is trying to do something different—that different thing, however, is just having DJ Drama provide thin narrative window dressing to a spate of uninspired Kid Cudi songs.- Pitchfork
- Posted Jan 19, 2024
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The songs on Welcome 2 Collegrove too often resemble the tenth pass on ideas no one loved in the first place, tweaked and rearranged until they’re perfectly fine.- Pitchfork
- Posted Jan 3, 2024
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THINK LATER is full of homogeneous trap-pop ballads devoted to one-dimensional introspection.- Pitchfork
- Posted Dec 15, 2023
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A dense and star-studded collection that sounds like the millennium’s most expensive karaoke party.- Pitchfork
- Posted Nov 27, 2023
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By the end of 17 tracks, they sound exhausted, as if worn down by their own charades.- Pitchfork
- Posted Oct 24, 2023
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The Darker the Shadow the Brighter the Light is baggy and unfocused. If he wants to sell a promise of salvation, he needs a better story to tell.- Pitchfork
- Posted Oct 23, 2023
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They try and fail to reinvigorate themselves in the rock’n’roll fountain of youth they helped create, only to emerge with a dozen hackneyed duds.- Pitchfork
- Posted Oct 19, 2023
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Scarlet should be a madhouse but instead it’s like a trip to the rap clinic waiting room.- Pitchfork
- Posted Sep 25, 2023
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It’s all so simplified, not only selling short teeangers’ ability to handle more complex emotions (hello, Olivia Rodrigo) but making Teezo look like a generic corporate vessel, genre-hopping to distract from the hollowness.- Pitchfork
- Posted Sep 13, 2023
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- Pitchfork
- Posted Aug 25, 2023
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Barring a few notable exceptions, World Music Radio is so beholden to its premise—so enfeebled by Batiste’s insistence on universality—that it offers up few opportunities to get to know Batiste himself: his stories, his struggles, his euphoric victories and devastating losses. That absence leaves the record feeling hollow, like a pretty house where no one lives.- Pitchfork
- Posted Aug 18, 2023
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Deliverance might work best as something else entirely, perhaps as a beat tape filled with reference vocals for the sort of stadium-status UK indie stars that know how to squeeze the maximum amount of drama out of the minimum amount of wordplay.- Pitchfork
- Posted Aug 15, 2023
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Cosentino sounds strongest when she gives herself permission to veer from her influences and find her own voice.- Pitchfork
- Posted Aug 3, 2023
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For some reason—fear of boring his fans, obedience to the preferences of the streaming services, a career focused on club bangers—Malone won’t let these songs breathe. The result is an album that’s overstuffed and undercooked.- Pitchfork
- Posted Aug 1, 2023
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Mitchell’s voice is gorgeous and rich throughout, a piece of high-pile cotton velvet warmed in the daylight. She renders “Both Sides Now” with the wisdom of survival, the “up and down” having still somehow delivered her here. But too often, her patient approach is swallowed by the tide of well-intentioned boosters, associates who make Mitchell feel like little more than an honorary guest at her own party.- Pitchfork
- Posted Jul 31, 2023
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All he has to back himself up is the production. Yet even that is so safe. He waters down the cutting-edge sounds of the past and, in the process, flattens his Southerness to the point that he feels like he’s from nowhere.- Pitchfork
- Posted Jul 31, 2023
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True to form, the other Kens on the soundtrack contribute nothing—doze through Dominic Fike’s noodly, acoustic “Hey Blondie,” which exists halfway between “Your Body Is a Wonderland,” and “Hey Soul Sister,” and the Kid Laroi’s howling emo-trap ballad “Forever & Again.” But the girls often can’t prove they’re worthy of main character status either.- Pitchfork
- Posted Jul 21, 2023
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Leray boasted about introducing the younger generation to artists like Busta Rhymes through her use of samples. That’s a nice idea—introducing people to other music through her samples—but that’s basically the only idea she brings to COI.- Pitchfork
- Posted Jul 17, 2023
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At 26 tracks, Pink Tape is bloated and messy, with occasional flashes of excellence between grating screamo misfires and unremarkable songs that feel like retreads of Playboi Carti or Trippie Redd hits.- Pitchfork
- Posted Jul 10, 2023
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Despite its razzle-dazzle, this is the rare King Gizzard release that actually sounds like it was composed as quickly as it was.- Pitchfork
- Posted Jun 22, 2023
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