Slant Magazine's Scores

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For 3,117 reviews, this publication has graded:
  • 35% higher than the average critic
  • 3% same as the average critic
  • 62% lower than the average critic
On average, this publication grades 7.7 points lower than other critics. (0-100 point scale)
Average Music review score: 65
Highest review score: 100 Who Kill
Lowest review score: 0 Fireflies
Score distribution:
  1. Positive: 1,687 out of 3117
  2. Mixed: 1,319 out of 3117
  3. Negative: 111 out of 3117
3117 music reviews
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    • 70 Metascore
    • 30 Critic Score
    Back to Me
    She makes a genuine effort here, but not even the legendary R&B singers to whom she has been compared could elevate this material.
    • 63 Metascore
    • 30 Critic Score
    Da Realist
    Without a distinguishing voice or idea, Realist feels like the mold from which better rap albums are made, a blank form woefully void of substance or flavor.
    • 72 Metascore
    • 30 Critic Score
    You're Always on My Mind
    For an album about "fun under the summer sun," You're Always on My Mind is singularly joyless.
    • 69 Metascore
    • 30 Critic Score
    The Quilt
    Even a guest verse from Busta Rhymes can't breathe any life into this copy-and-paste mess.
    • 61 Metascore
    • 30 Critic Score
    For Me It's You
    "Get Out" and "Am I Reaching You Now" strive for massive arena-rock grandeur, and, while Train is slick and professional enough a band to pull that off, what prevents the album from working even as marginally as X&Y and certainly not as well as The Constantines' Tournament Of Hearts is the banality of the songs' lyrics.
    • 61 Metascore
    • 30 Critic Score
    Waking Up
    Ultimately, OneRepublic takes what all of those bands already do and pushes it to an even lower common denominator of slick, disposable melodrama.
    • 58 Metascore
    • 30 Critic Score
    Do You Know
    Curiosity and whatever remains of her pop fanbase will likely give Do You Know a strong start, but it's hard to imagine that it will sustain any momentum or help Simpson build a reputation as a credible artist in Nashville.
    • 50 Metascore
    • 30 Critic Score
    Shock Value II
    Justin Timberlake and Drake both offer admirable turns, but are forced to operate with unenviably tepid production. The overall laziness of that facet is even more inexcusable coming from one of the most renowned producers of the last decade.
    • 78 Metascore
    • 30 Critic Score
    Parc Avenue
    It is their failure to do little beyond noodle energetically and evoke the work of others that dooms Parc Avenue to mediocrity.
    • 72 Metascore
    • 30 Critic Score
    Working On A Dream
    Yet despite O'Brien's anemic production, much of the blame for Working On a Dream undoubtedly lies with Springsteen himself; drained of his angry energy, he dribbles out material that's for the most part goofy and painfully bloodless.
    • 50 Metascore
    • 30 Critic Score
    Songs From Black Mountain
    It's sad to see a once-promising band reduced to dribbling out a mewling, half-baked effort such as this, an album with no redeeming value beyond soundtracking your next visit to Supercuts.
    • 75 Metascore
    • 30 Critic Score
    Preteen Weaponry
    Presumably the climax of the whole stumbling, stoned expedition arrives about halfway through the latter half, when some synthy Gregorian chant-style vocals trudge into the mix for a few seconds, but by the time the album reaches its dingy conclusion and fades back into feedback loops and distant alien static noises, Oneida seems to have inadvertently demonstrated only one thing: that, dude, having, like, rad conceptual ideas and high aspirations does not a good album make.
    • 52 Metascore
    • 30 Critic Score
    The Incredible Machine
    Though its style alone makes it a sure bet to be hailed as progressive by those who only like country music that doesn't sound a damn thing like country music, and just as sure to be reviled by country music purists, the real problems with the album are with its failures of execution and its inexplicable aesthetic choices.
    • 60 Metascore
    • 30 Critic Score
    Own the Night
    In the past, the trio has been able to elevate their unremarkable songwriting with spirited performances, but that isn't the case on Own the Night
    • 54 Metascore
    • 30 Critic Score
    Animal
    Just about the only thing Ke$ha makes convincing on Animal is that the current crop of party girls are every bit as soulless as they let on.
    • 52 Metascore
    • 30 Critic Score
    Bat Out Of Hell III: The Monster Is Loose
    The results are disastrous.
    • 56 Metascore
    • 20 Critic Score
    the JaneDear girls
    The songs that work on The JaneDear Girls are the ones that emphasize their melodies and hooks above the actual content of the songs or the girls' performances.
    • 70 Metascore
    • 20 Critic Score
    Planet Pit
    A little bit of charisma probably wouldn't have saved Planet Pit from disaster, but it might have helped.
    • 59 Metascore
    • 20 Critic Score
    Leave This Town
    Chris Daughtry has a real band that plays really serious songs, which are, almost without exception, really, really bad.
    • 37 Metascore
    • 20 Critic Score
    Slick Dogs And Ponies
    Though more adventurous than 2005's "The Best Little Secrets Are Kept," the band's sophomore LP, Slick Dogs and Ponies, still rings soulless at its core.
    • 52 Metascore
    • 20 Critic Score
    Sounds from Nowheresville
    It all amounts to a great deal of bluster for bluster's sake and becomes tiresome almost instantly.
    • 58 Metascore
    • 20 Critic Score
    Mansion Musik
    Trippie Redd’s Mansion Musik is repetitive, shoddily produced, and lacks any real structure.
    • 54 Metascore
    • 20 Critic Score
    Mail On Sunday
    He joylessly repeats all the tired tropes of Southern party rap (brand-name fetishizing, drug-trade mythologizing, stripper-bitch glorifying), and the album's best track has already been let out of the bag.
    • 65 Metascore
    • 20 Critic Score
    Versus
    Of course, the only people I could imagine getting any pleasure whatsoever from Versus's wretched collection of failed club-sex jams are those with enough bad taste to buy Raymond v. Raymond three or four times over.
    • 52 Metascore
    • 20 Critic Score
    The Pick Of Destiny OST
    Whereas [debut album] Tenacious D was a brilliant parody of the blood-and-thunder metal genre, functioning as a cohesive, hilarious whole, The Pick Of Destiny is mere bong resin.
    • 56 Metascore
    • 20 Critic Score
    Rise Up
    When Rise Up settles into this pro-marijuana groove, the album does begin to serve its purpose, however stunted that purpose may seem. Beyond that, there's very little to savor here, with the two emcees struggling to tender a memorable verse between them during 14 tracks spanning just under an hour.
    • 63 Metascore
    • 20 Critic Score
    Double Up
    Unsaved by anything resembling an acceptable musical hook, Kelly's lyrics are uniformly dumb.
    • 60 Metascore
    • 20 Critic Score
    Strangeland
    Strangeland sounds every bit as dated and overblown as the singles from Cher's "rock" phase.
    • 61 Metascore
    • 20 Critic Score
    Dynamics
    They're especially fond of bad movie soundtracks from the '80s, and they show it on their sophomore effort, Dynamics, by making every song sound like the non-hits off those albums.
    • 70 Metascore
    • 20 Critic Score
    All Jacked Up
    What All Jacked Up ultimately confirms... is that Wilson is a one-trick pony whose trick will only impress those with exceedingly low expectations.
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