Pitchfork's Scores

  • Music
For 6,666 reviews, this publication has graded:
  • 46% higher than the average critic
  • 4% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 3.5 points lower than other critics. (0-100 point scale)
Average Music review score: 68
Highest review score: 100 The SMiLE Sessions
Lowest review score: 0 Liz Phair
Score distribution:
6,666 music reviews
    • 51 Metascore
    • 26 Critic Score
    More so than the album's overall malaise and inconsistency, it's this ridiculous (and in some cases, offensive) attempt at "edginess" that's most off-putting.
    • 51 Metascore
    • 20 Critic Score
    She comes across like a severely dumbed-down Lily Allen at best, and at worst she seems like someone you would want to root against in a televised singing competition
    • 51 Metascore
    • 30 Critic Score
    Despite attempts at lyrical heft detailing a too-vague sexual awakening ("Sebastian") and an encomium for a friend ("Ghost Bike"), Ulicny undermines himself on a second-by-second basis by finding no lyric that can't be subjected to at least six different forms of contortion regardless of its content.
    • 50 Metascore
    • 27 Critic Score
    The Vines earn real damnation as Winning Days comes to a close. However boring and harmlessly vapid the first ten tracks are, "F.T.W." obliterates any possibility of forgiving them.
    • 50 Metascore
    • 35 Critic Score
    The production of The Bridge sounds like it came out of an extended catch-up session, the work of a man best accustomed to the breakbeat era's techniques trying his hand at the last ten years' worth of club-rap digitalism.
    • 49 Metascore
    • 32 Critic Score
    Elixer runs the gamut of bland-but-classy R&B, from antiseptic slow jams to rote dance-pop, slick as you'd expect and completely failing to suggest what bunched Prince's panties when he initially discovered Valente.
    • 48 Metascore
    • 30 Critic Score
    Neither here nor there, the funklesss would-be dancefloor fodder of P.D.A. frankly comes off D.O.A.
    • 48 Metascore
    • 21 Critic Score
    Radio 4 can be commended for at least trying to move past the purposeful lo-fi of Gotham! and into fresher territory, but there's no bell or whistle in the world that could energize the utterly impotent songs at the core of Stealing of a Nation.
    • 48 Metascore
    • 28 Critic Score
    Beyond the Neighbourhood is the sonic equivalent of a beautiful coffin.
    • 47 Metascore
    • 10 Critic Score
    I highly recommend that Animal Collective fans seek out the re-reversed copies of Pullhair Rubeye [available illegally on the Internet]. They are enjoyable.... But then there's, you know, the thing that sits on store shelves and costs money. And that version of Pullhair Rubeye is remarkably dull.
    • 47 Metascore
    • 24 Critic Score
    If Moby has accomplished anything with Hotel, it's that he may have become the rare musical artist equally despised by both of modern music criticism's warring camps.
    • 46 Metascore
    • 36 Critic Score
    Drama in music works perfectly fine in mediated, tactical doses, but for Tourist, the stakes are unrealistically high.
    • 46 Metascore
    • 34 Critic Score
    Pull the Pin might be going for the uncluttered "production" of older Rick Rubin, but instead it cops the sterility of newer Rick Rubin, each song lumbering on a chassis of waterlogged tempo and Jones' wooden melodies, begging for just about anything to grab you.
    • 46 Metascore
    • 39 Critic Score
    The Misfits' schtick should stand the test of time. But The Devil's Rain makes supernatural feel like fairly workaday stuff.
    • 46 Metascore
    • 35 Critic Score
    Earth is a whopping 70 minutes long, and at no point in it do we get an idea of what exactly the fuck the Dandy Warhols are trying to tell us.
    • 46 Metascore
    • 4 Critic Score
    The Butthole Surfers have finally become shocking only in their sheer banality, like a watered-down mix of the worst Beck and Perry Farrell material you can imagine.
    • 46 Metascore
    • 30 Critic Score
    (together) is borderline unlistenable taken as a whole.
    • 45 Metascore
    • 10 Critic Score
    Audacious to the extreme, but exhaustingly tedious as a result, its few interesting ideas are stretched out beyond the point of utility and pounded into submission.
    • 45 Metascore
    • 10 Critic Score
    This music wasn’t just written or recorded without any regard to the quality of the Pixies legacy, it was done so without regard to songwriting quality at all.
    • 45 Metascore
    • 32 Critic Score
    He's already recorded such a wealth of great material that no mystique remains, leaving no real reason for anyone-- including the most dedicated fan-- to seek out these poorly produced musical shreds.
    • 44 Metascore
    • 20 Critic Score
    I've listened to this EP twice; that's once more than I would have ever liked to have heard it, give or take one listen.
    • 44 Metascore
    • 22 Critic Score
    He's only a middling guitar player, but insists on soloing and showboating endlessly, drawing out songs to unnecessary lengths.
    • 44 Metascore
    • 10 Critic Score
    An album that hideously disgraces the band's original work.
    • 44 Metascore
    • 27 Critic Score
    Generation is a sonic mess, all weightless synth swish, dull beats, and maybe-ironic midi horns.
    • 43 Metascore
    • 39 Critic Score
    That air of obligation presides during The World We Left Behind, a nine-track slog.
    • 42 Metascore
    • 30 Critic Score
    These are dance songs so strident that no one could ever hope to move to them, pop songs so thin that no one could choose lines worth singing along to, rap verses so fumbly that practically anyone could rewrite them and make them better.
    • 40 Metascore
    • 0 Critic Score
    Liz Phair proves so ultimately unnecessary, it might as well not even exist.
    • 39 Metascore
    • 32 Critic Score
    United Nations of Sound arrives with a Sunday-school sermon's worth of resurrection rhetoric that conflates Ashcroft's return with that of J.C. himself.
    • 37 Metascore
    • 25 Critic Score
    The slightly more dynamic Louis XIV only give you testosterone-fueled rock at its least appealing extremes: heedless lust or, arguably even more repulsive, cheesy balladry.
    • 34 Metascore
    • 29 Critic Score
    In execution the whole thing comes off as nothing more than a thinly disguised, crass attempt to smoke latent Oasis fans out of hiding. Unfortunately for them, Beady Eye already beat them to the punch.