Slant Magazine's Scores

For 2,287 reviews, this publication has graded:
  • 36% higher than the average critic
  • 3% same as the average critic
  • 61% lower than the average critic
On average, this publication grades 8.3 points lower than other critics. (0-100 point scale)
Average Music review score: 63
Highest review score: 100 Dear Science,
Lowest review score: 0 Fireflies
Score distribution:
2287 music reviews
    • 61 Metascore
    • 60 Critic Score
    Later isn't quite the world-conquering rock opus their debut turned out to be, but it proves that Glasvegas has effectively shaken off their second-album hangover.
    • 72 Metascore
    • 60 Critic Score
    At 16 tracks, the album moves surprisingly fast, with few songs outstaying their welcome, but it ultimately fails to successfully push Legend into the future.
    • 71 Metascore
    • 60 Critic Score
    Defend Yourself still suggests a creator with an obsessively huge record collection, only the heady variation of explored genres seems more boilerplate, a sense of variety for variety's sake rather than a desire to put a unique stamp on old musical tropes.
    • 70 Metascore
    • 60 Critic Score
    Perhaps Ski Mask's greatest virtue is that it demonstrates Islands' competency as a conventional rock act while dropping the occasional winking reminder that the band hasn't lost their ability to get weird.
    • 60 Metascore
    • 60 Critic Score
    Ultimately, 2 of 2 doesn't so much eclipse its predecessor as it settles into the format more believably.
    • 81 Metascore
    • 60 Critic Score
    Like any rapper, Pusha is still heavily dependent on the talent surrounding him, and these connections keep things on an even keel, with mostly strong production work presented throughout.
    • 73 Metascore
    • 60 Critic Score
    Years removed from the raw emotion and desperate appetites of youth, Pearl Jam has slipped into alt-rock elder statesmanship as one would a comfortable old sweater. And as Lightning Bolt mostly attests, it's a decent look for them.
    • 66 Metascore
    • 60 Critic Score
    Too many edges have been sanded off the brothers' music, and whether the blame lies with Rubin's influence or the accelerated writing pace, the result is an album devoid of the band's usual charming lyrics and adroit melodies.
    • 61 Metascore
    • 60 Critic Score
    She largely sticks to her tried-and-true pop template, each song tailor-made for mass consumption with mixed results.
    • 59 Metascore
    • 60 Critic Score
    The lesson isn't so much "don't mess with perfection," but rather "don't bother trying to gild the lily of genius. To uneven ends, the collection of newly commissioned remixes in the tribute compilation Love to Love You Donna dance around that notion.
    • 72 Metascore
    • 60 Critic Score
    The album's production offers little that's new. Dr. Dre and Rick Rubin have crafted, or at least enabled, a few too many of the power-ballad slow jams that Eminem has grown increasingly fond of, alongside several guitar-driven anthems that come on as subtle as Jock Jams. Eminem is no one's hack, though, and the album has tantalizing moments of vintage performance.
    • 65 Metascore
    • 60 Critic Score
    Dion's cover of Janis Ian's rueful "At Seventeen" comes off less like a lament for childhood dreams that didn't come to pass and more like a lilting word of advice from someone old enough to know better, which is precisely the zone where the album excels: when Dion drops the act and embraces her manic, Hallmark card-brandishing guru of schmaltz.
    • 59 Metascore
    • 60 Critic Score
    The tracks may recall "Pour Some Sugar on Me," but their lyrics are still all "I'm not scared of love/'Cause when I'm not with you I'm weaker," so essentially the album's potentially nastiest tracks come off as a glorified Halloween costume act. More believable are the moments when they lay off the hard sell.
    • 74 Metascore
    • 60 Critic Score
    It's a welcome sign of life from an MC who many assumed to be over the hill, and where it fails, it fails on its own terms--and that's a kind of success in itself.
    • 67 Metascore
    • 60 Critic Score
    Morello appears on most of the tracks here, and he's largely an enlivening presence, electrifying Springsteen's revolutionary spark, but he still hasn't figured out how to open up a solo without changing the entire tone of a song. Springsteen himself has a similar problem, struggling to deliver pointed social critique without sliding into his comfort zones.
    • 74 Metascore
    • 60 Critic Score
    It's an uneasy d├ętente in the continuing conflict between its creator's best and worst impulses.
    • 74 Metascore
    • 60 Critic Score
    Given Warpaint's complex, operatic highs, its experiments in minimalism and tranquility make for some awfully low lows, but there are worse things than a band that seems to be evolving in two directions at once.
    • 66 Metascore
    • 60 Critic Score
    Angel Guts is yet another example that the world needs a guy like Jamie Stewart treating music the way Jamie Stewart does: painfully, harshly, intuitively, and with psychotic aplomb.
    • 78 Metascore
    • 60 Critic Score
    He has the instincts of a good storyteller, and maybe even the potential to be a standard bearer for his art form, but when he falls back on tired "pimps and hoes" narratives, he sounds firmly, frustratingly rooted in the past.
    • 67 Metascore
    • 60 Critic Score
    G I R L may have benefited from a few more introspective trips back to the drawing board.
    • 80 Metascore
    • 60 Critic Score
    What's most disappointing of all about The Future's Void is that, for all its heady ideas and pretty moments, in almost all ways it's a regression from Anderson's earlier work, a mishmash of half-completed thoughts that fails to ever fully connect.
    • 78 Metascore
    • 60 Critic Score
    Hendra is such an impressively executed time capsule that it contains not only all of the pleasantries of the genre, but also its excessive earnestness.
    • 77 Metascore
    • 60 Critic Score
    This is some of Kelis's subtlest, most organic-sounding work. If only there was more of her in it.
    • 76 Metascore
    • 60 Critic Score
    A Long Way to the Beginning thus finds the young upstart at a crossroads, between overt legacy mining and striking out on his own, a tentatively successful effort that at least demonstrates Seun's innate skills as a bandleader and a radical.
    • 62 Metascore
    • 60 Critic Score
    Someday World never devolves into Tin Machine-style disaster, but it rarely manages to realize its collaborative potential either.
    • 66 Metascore
    • 60 Critic Score
    In the end, Xscape justifies its existence with a handful of potential singles that stand up to Jacko's peerless oeuvre, all of them about love's delirious power.
    • 61 Metascore
    • 60 Critic Score
    Although incumbent on its source material, Ghost Stories avoids wholly rote repetition by porting a modicum of the strangeness and innovation of other artists into its own body, despite Martin's clunky writing.
    • 75 Metascore
    • 60 Critic Score
    It's a testament to Oberst's enduring versatility that Upside Down Mountain can accommodate the antic creepiness of "Governor's Ball" as well as the transcendent uplift of "Time Forgot," but the album's moments of sentimentality make Oberst sound like just another chart-climbing purveyor of feel-good folky schlock.
    • 67 Metascore
    • 60 Critic Score
    Undisciplined R&B pastiches, however, the album has in spades, especially ones that hearken back to her own career.... With surprising internal logic, the album's two unabashedly uptempo ditties are also the forums for Mariah's most serious-minded performances.
    • 45 Metascore
    • 60 Critic Score
    The album features more guest rappers than even her 2002 remix album, and the standout "Acting Like That," featuring the always reliable Iggy Azalea, is handily the hardest beat she's ever bought. Unfortunately, A.K.A. also includes a slew of midtempo ballads whose soaring hooks and slick production are wasted on Lopez's reedy voice.