Pitchfork's Scores

  • Music
For 7,099 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 Sticky Fingers [Deluxe Edition]
Lowest review score: 0 Liz Phair
Score distribution:
7,099 music reviews
    • 86 Metascore
    • 88 Critic Score
    This unguarded, individualistic expression encourages strong identification in listeners, so don't be surprised if this record earns Garbus a very earnest and intense cult following.
    • 86 Metascore
    • 75 Critic Score
    Delineated acts aside, the disc maintains a certain sonic consistency, carefully balancing discord with grace; the structure does pay off, however--particularly the first two-thirds.
    • 86 Metascore
    • 84 Critic Score
    This album is an affirmation of global connectivity and an emerging global culture that transcends and repurposes tradition as it sees fit--the sound of Mali merging with the world at large.
    • 86 Metascore
    • 83 Critic Score
    A warm, intimate debut album that leaves space for darker contemplation—those stray thoughts that light you up at the end of the night.
    • 86 Metascore
    • 91 Critic Score
    Mirrored is a breathtaking aesthetic left-turn that sounds less like rock circa 2007 than rock circa 2097, a world where Marshall stacks and micro-processing go hand in hand.
    • 86 Metascore
    • 82 Critic Score
    Are We There may be her most present-tense album to date, her most immediate and urgent--the peak of a steady upward trajectory.
    • 86 Metascore
    • 95 Critic Score
    It's a rare thing for an album to have such a strong sense of what it wants to be. Bon Iver is about flow, from one scene and arrangement and song and memory and word into the next-- each distinct but connected-- all leading to "Beth/Rest".
    • 86 Metascore
    • 81 Critic Score
    What makes How I Got Over work is its sense of purpose. After the jaw-clenching stress rap of their last two excellent Def Jam releases, Game Theory and Rising Down, this record operates as a slow-build mission statement on how to overcome.
    • 86 Metascore
    • 80 Critic Score
    If ever an album rewarded repeated listening, it's this one.
    • 86 Metascore
    • 83 Critic Score
    Masta Killa has delivered one the most urgent, straightforward Wu releases since the group's debut over a decade ago.
    • 86 Metascore
    • 92 Critic Score
    Simply put, this album sounds absolutely huge, its relentless attention to detail eclipsed only by the stunning emotional power it conveys.
    • 86 Metascore
    • 80 Critic Score
    However convoluted things get, you still wanna pump fist and bang head, even if you're not always sure when you should be doing so.
    • 86 Metascore
    • 91 Critic Score
    Lush, melancholic, gregarious, generous, both precise and a little bit unhinged--this is the most original American dance album in a long while.
    • 86 Metascore
    • 87 Critic Score
    Syro contains some of his most tactile music; it’s a headphone record par excellence, an hour-long feast for the ears.
    • 86 Metascore
    • 78 Critic Score
    Young Man in America, is just as ambitious [as her last release, Hadestown], but it's more intimate and accessible than its predecessor, focused on the textures of everyday life and the odd, stirring power of Mitchell's voice.
    • 86 Metascore
    • 80 Critic Score
    At the risk of overstating the case, Life Is People--the work of a 69-year-old family man, and the work of a lifetime--confirms its maker's own thesis.
    • 86 Metascore
    • 78 Critic Score
    His restless style makes each piece sound three-dimensional, as shards of songs pass each other in a storm of string activity. It makes for exhilarating, sometimes exhausting listening. But it also makes for music that, though it hints at structure, never sounds predictable and rarely settles.
    • 86 Metascore
    • 79 Critic Score
    Estudando o Pagode is an impressive album, musically, conceptually, and lyrically, and the cast of musicians and singers Zé assembled delivers on his singular vision.
    • 86 Metascore
    • 82 Critic Score
    Her pop fun is a bit knowing-- she's 26 after all. But trust the Swedes. They know what they're doing with this sort of thing.
    • 86 Metascore
    • 87 Critic Score
    This stuff would sound great behind just about any garage-rock hack, but it turns Finn's dirtbag chronicles into something epic and huge and molten and beautiful.
    • 86 Metascore
    • 86 Critic Score
    The songs, interludes, pacing and sequencing are all as they should be, helping to make Quicksand/Cradlesnakes Califone's best record.
    • 86 Metascore
    • 77 Critic Score
    BSP's performance art antics and throwback posturing come with a distinct set of innovations and surprises, and The Decline of British Sea Power proves that BSP have the song-power to back up their bullshit.
    • 86 Metascore
    • 89 Critic Score
    Their best album to date-- a bold claim to the upper echelon of rock.
    • 86 Metascore
    • 92 Critic Score
    This record explodes with song after song of endlessly replayable, perfect pop.
    • 86 Metascore
    • 85 Critic Score
    Yeah, it's a fun album, and it's probably the most affable thing they've done so far together. But don't take that for a weakness.
    • 86 Metascore
    • 90 Critic Score
    As a career overview Minimum-Maximum far surpasses The Mix. This record's "importance" in the Kraftwerk story is up for debate, but there's no question it's a hell of a lot of fun.
    • 86 Metascore
    • 84 Critic Score
    It's respectful of tradition, quietly ambitious, and deeply personal, a wonderfully considered album from an artist who was starting to seem a lot like a forgotten gem in the wake of mishandled promotion.
    • 86 Metascore
    • 81 Critic Score
    It’s expansive and ambitious, and divorced of all the tweedy preening and aw-shucks raggediness the idea of “folk” has accumulated in recent years. It's dark, it’s angry, it’s even sexy, in a sly, subtle way.
    • 86 Metascore
    • 87 Critic Score
    Though they certainly do their fair share of sampling, they tend to use fragments as a means of fleshing out the battling, overdriven guitars, triumphant trumpet lines, and drum assaults that seem to break through walls with the barreling force of a thousand Kool-Aid men.
    • 86 Metascore
    • 84 Critic Score
    As when the biggest guy in the bar has your back, Vee Vee is filled with extra spittle and bottomless bravado.