Slant Magazine's Scores

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For 3,119 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: 1,689 out of 3119
  2. Mixed: 1,319 out of 3119
  3. Negative: 111 out of 3119
3119 music reviews
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    • 61 Metascore
    • 50 Critic Score
    Moment Bends
    After several listens, it's still not entirely clear what Moment Bends is striving to be, or, for that matter, what its creators are trying to say with it.
    • 69 Metascore
    • 70 Critic Score
    Hard Bargain
    Though her voice has begun to show some signs of wear, Harris remains one of popular music's most compelling, evocative vocal stylists, and that makes Hard Bargain an easy sell.
    • 74 Metascore
    • 70 Critic Score
    I'll Never Get Out of This World Alive
    If not at his absolute peak, I'll Never Get Out of This World Alive is still easily the best album he's recorded since Bill Clinton left office.
    • 60 Metascore
    • 70 Critic Score
    Thecontrollersphere
    thecontrollersphere may be an album of toss-offs, but they're proud ones, earning that status by virtue of robust exploration rather than any real deficiency.
    • 69 Metascore
    • 50 Critic Score
    Holy Ghost!
    Hat-tips and insider references abound on Holy Ghost!, but what's communicated most strongly isn't, ultimately, the duo's abiding love for new wave and disco, or even the timelessness of the style, but rather the poverty of nostalgia as an aesthetic principle.
    • 65 Metascore
    • 60 Critic Score
    Hanna
    None of the tracks on Hanna do more than they have to, but at least they do that much.
    • 77 Metascore
    • 60 Critic Score
    Take Care, Take Care, Take Care
    In the end, the Texas band can't help but eventually indulge their desire to produce epic, guitar-driven film-score material, and after some initial feints into other territory, Take Care is business as usual.
    • 77 Metascore
    • 70 Critic Score
    The Parallax: Hypersleep Dialogues
    Between the Buried and Me is dependent on their ability to generate momentum, by virtue of which they can keep listeners engaged in these unwieldy but ultimately rewarding compositions. By that standard, The Parallax is a success, though its true significance will be determined by how the band capitalizes on that momentum when they complete the two-part series with their forthcoming LP.
    • 71 Metascore
    • 50 Critic Score
    Lollipop
    While the band maintains a glimmer of their former selves, writing sturdy, comfortable songs with a minimal capacity to surprise, Lollipop still sounds a little tired.
    • 70 Metascore
    • 60 Critic Score
    Countrypolitan Duets
    When the album is less successful, it's generally because her collaborators let her down or because she's played it too safe and too deliberately tasteful.
    • 76 Metascore
    • 80 Critic Score
    On a Mission
    It's an album that only aims to give off the sensation of having rubbed up, briefly, against someone incredibly attractive on the dance floor and having the chance, missed encounter resonate for days afterward.
    • 77 Metascore
    • 60 Critic Score
    Tomboy
    While Person Pitch rippled with punctuated sound, Tomboy is a cyclic plateau, a triumph of building algorithms that gradually add plushness and sonic density, but very little movement.
    • 77 Metascore
    • 90 Critic Score
    W.A.R. (We Are Renegades)
    W.A.R. is Monch's blockbuster, a marathon sci-fi tale set in some grisly faraway cacotopia.
    • 78 Metascore
    • 60 Critic Score
    In Love With Oblivion
    Crystal Stilts differentiate themselves from the herd with scuzzy, garage-rock charm and dissonant cool.
    • 73 Metascore
    • 70 Critic Score
    Do Whatever You Want All the Time
    Do Whatever You Want All the Time is a candy-colored descent into madness, one which tames the wildness of the group's previous efforts in the interest of a far more mature style.
    • 78 Metascore
    • 60 Critic Score
    Wasting Light
    Wasting Light appears to be just another good, if forgettable, entry in the Foo Fighters catalogue.
    • 69 Metascore
    • 60 Critic Score
    Too Young to Be in Love
    Between the camping, the re-contextualizing, the endless musical cut-n'-paste, Hunx and His Punx throw up a lot of barriers between their listener and any kind of un-self-conscious appreciation of their songs.
    • 80 Metascore
    • 80 Critic Score
    C'mon
    Whatever C'mon lacks in newness it more than compensates for in intimacy and richness.
    • 73 Metascore
    • 50 Critic Score
    The Family Sign
    Eschewing the dynamic pop and soul flourishes that made Lemons something of a crossover vehicle, The Family Sign is simply flat.
    • 51 Metascore
    • 50 Critic Score
    Who You Are
    Unfortunately, the songs on Who You Are that allow Jessie J's ugly, born-that-way vocals to cut loose are in the distinct minority. In the quest to find herself, she seems to have gotten sidetracked.
    • 76 Metascore
    • 50 Critic Score
    Here We Rest
    It's on the songs that bring in the R&B influences that made Jason Isbell and the 400 Unit sing that Here We Rest finally showcases what it is that makes Isbell a distinctive talent.
    • 76 Metascore
    • 60 Critic Score
    Paper Airplane
    Krauss and Union Station are extraordinary musicians, and it's their impeccable skills that are the main selling point of Paper Airplane.
    • 58 Metascore
    • 50 Critic Score
    Bloodless Coup
    Were Kirwan's production a bit meatier, Bloodless Coup might be able to overcome the lapses in the band's songwriting.
    • 82 Metascore
    • 80 Critic Score
    Nine Types of Light
    Nine Types of Light may fall somewhat short in comparison with TV on the Radio's other albums, but it's a strong, smart effort from a band that continues to push resolutely forward.
    • 58 Metascore
    • 40 Critic Score
    Doggumentary
    There are moments here that hint at brilliance of the West Coast veteran's early G-funk staples, which only underlines the fact that a more faithful sequel to his magnum opus would best serve his fans and his legacy. Doggumentary is far from that, its major player distracted by his desire to replicate modish hood-bangers and experiment in areas too far from his comfort zone.
    • 84 Metascore
    • 60 Critic Score
    A.H.A.T.H.H.A.F.T.C.T.T.C.O.T.E.
    Nothing on this album hooks quite like True Widow's darkly romantic highlights (check out "Duelist" or "Bleeder" if you want to hear True Widow's gothic revision of the '90s alt-rock template); instead, all but a few of the tracks here sound like variations on that album's "Sunday Driver."
    • 69 Metascore
    • 70 Critic Score
    Common Era
    Making good on their somewhat condescending promise, Belong takes the ambient noise-rock of their October Language LP and recalibrates it for a slightly less overwhelming listen.
    • 77 Metascore
    • 80 Critic Score
    All Eternals Deck
    This self-assessment has never been more accurate: All Eternals Deck is comfort food from an unlikely kitchen.
    • 76 Metascore
    • 60 Critic Score
    Blood Pressures
    Blood Pressures works mostly because of how fully the duo believes in the junk they're spitting out.
    • 66 Metascore
    • 30 Critic Score
    Raven in the Grave
    The Raveonettes have always made use of heavy reverb on their albums, but the overall impact is that Raven in the Grave just sounds sloppy.
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