Pitchfork's Scores

  • Music
For 6,691 reviews, this publication has graded:
  • 47% higher than the average critic
  • 4% same as the average critic
  • 49% 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:
6,691 music reviews
    • 88 Metascore
    • 87 Critic Score
    Never before has his music possessed this much majesty, this much command, this much power.
    • 88 Metascore
    • 75 Critic Score
    It’s no doubt a conservative record, maybe even a deeply unfashionable one, but much of its strength lies in the fact that it sounds different from everyone else out there.
    • 88 Metascore
    • 86 Critic Score
    With all the column inches and message board posts arguing about whether M.I.A. is an opportunist or a clever contextualist, genuine or a fraud, full of good intentions or no specific intentions at all, the closest thing to a truism about Arular is that it's a taut, invigorating distillation of the world's most thrilling music; a celebration of contradictions and aural globalization that recasts the tag "world music" as the ultimate in communicative pop rather than a symbol of condescending piety.
    • 88 Metascore
    • 83 Critic Score
    Flying Lotus has the notion that death should be the only limiting factor, and when he's put out a work that wrings beauty out of that very thing, what's the point of fearing anything?
    • 88 Metascore
    • 35 Critic Score
    I'm sure there are kids out there that think Basement Jaxx is great dance music, but the odds are, they don't know much about jungle.
    • 88 Metascore
    • 80 Critic Score
    There are enough instrumental interludes and understated melodies here to make the record a grower, and it eases into the sunset for much of its back half.
    • 88 Metascore
    • 81 Critic Score
    Vernon gives a soulful performance full of intuitive swells and fades, his phrasing and pronunciation making his voice as much a purely sonic instrument as his guitar.
    • 87 Metascore
    • 85 Critic Score
    It's also a meditation on a complex world, one devoid of the nostalgic innocence preached by the Mike Love-fronted Beach Boys of late, and its remastered, 2xCD Legacy Recordings release- the first CD release of the album since 1991--is astoundingly refreshing.
    • 87 Metascore
    • 90 Critic Score
    In many respects, Leaves Turn Inside You is the band's most ambitious, sweeping, and difficult outing yet.... I'm convinced that, if you've been following this band's development, the initial bewildered expression on your face will give way to total enchantment, and this new, boldly different Unwound album will have you in its grip for months to come.
    • 87 Metascore
    • 90 Critic Score
    What follows is surprisingly full and wide ranging, almost as much as the Bruegel painting that graces the album's cover.
    • 87 Metascore
    • 85 Critic Score
    Complex enough to reward repetitive listening and compact enough to encourage it, Blue Record is one of the year's most generous hours.
    • 87 Metascore
    • 94 Critic Score
    You can feel the warmth pouring out of the music.
    • 87 Metascore
    • 82 Critic Score
    A flawed, overlong, hypocritical, egotistical, and altogether terrific album.
    • 87 Metascore
    • 80 Critic Score
    Drawbar Organ / Quiet Hour takes that fascination [with dub] and grinds it in the back molars, spitting out something lumpy, infirm, and wonderfully transformed.
    • 87 Metascore
    • 91 Critic Score
    You get lost in it, and if you're wired a certain way that mixture of desire and confusion is easy to map on to the wider world. For 22 years, the only way to get there was through Loveless and its associated EPs; now there's another path, one many of us never expected to find.
    • 87 Metascore
    • 80 Critic Score
    If you're not inclined toward acoustic improvisation or unstructured abstraction, Orcutt won't change your mind. But anyone can admire the raw soul of his playing and the way he shoots out ideas in real-time, reacting so quickly it's as if he's creating a new language as he speaks it.
    • 87 Metascore
    • 85 Critic Score
    Yet another leap forward for a band that has constantly pushed itself in new directions.
    • 87 Metascore
    • 80 Critic Score
    While its peaks fall just a whit short of those on its predecessor, Decoration Day's inward journeys nicely balance out Southern Rock Opera's bombastic expansiveness, and further confirm the Drive-By Truckers' status as the most poetic and insightful Southern rockers in existence today.
    • 87 Metascore
    • 86 Critic Score
    The album naturally lacks the shock of the new, the jolt of Boy in Da Corner-- instead, it's a consolidation of his strengths, lyrically and sonically, and a more satisfying listen than its predecessor.
    • 87 Metascore
    • 84 Critic Score
    The Bad Seeds sound even edgier and more sophisticated on Dig, Lazarus, Dig!!!, providing a fitting pulpit for their bandleader's ravings.
    • 87 Metascore
    • 77 Critic Score
    Southeastern is easily Isbell’s best solo album--his most richly conceived and generously written. If it’s not quite the album that lives up to his considerable talents, it’s mostly the music that’s to blame.
    • 87 Metascore
    • 84 Critic Score
    The Dirty South is more consistent and cohesive song-for-song, its wide scope more public than personal.
    • 87 Metascore
    • 78 Critic Score
    Iyer and his cohorts have spun the piano trio format into great art here, acknowledging their contemporaries and their musical ancestors.
    • 87 Metascore
    • 80 Critic Score
    The urgency and vigor he packs into the unplugged punk of Workbook--the frequent knuckle-scraping attack of his strumming, his refusal to whisper or withhold--are what make the album a testament to tension rather than hesitance.
    • 87 Metascore
    • 85 Critic Score
    These songs feel less like songs and more like treasures, ones that fill you with power and wisdom, and as a result, Too Bright seems capable of resonating with, comforting, and moving anyone who's ever felt alienated, discriminated against, or "other-ized," regardless of sexual orientation.
    • 87 Metascore
    • 85 Critic Score
    Cold House takes a fantastic batch of songs and intelligently mixes in cutting edge electronic elements a la Autechre and Nobukazu Takemura, a couple of west coast underground hip-hop artists, and some delicate backing arrangements, and creates one of the most innovative releases of the past year.
    • 87 Metascore
    • 80 Critic Score
    Things We Lost in the Fire's high points are, without question, the best they've done.
    • 87 Metascore
    • 90 Critic Score
    For 30 years Swans have challenged the boundaries between beauty and ugliness, music and noise, catharsis and abuse.... The Seer is the album that transcends them.
    • 87 Metascore
    • 90 Critic Score
    Revisiting All Hail West Texas over two decades into the Mountain Goats’ existence makes a central irony in their story all too clear: it’s not a lonely record anymore. A handful of these songs remain the most iconic in the Mountain Goats catalog.
    • 87 Metascore
    • 82 Critic Score
    Now, More Than Ever is both hushed and sprawling, serene and agitated, jumpy and constant.