Slant Magazine's Scores

For 2,247 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 Love
Lowest review score: 0 We Must Become the Pitiless Censors of Ourselves
Score distribution:
2,247 music reviews
    • 72 Metascore
    • 40 Critic Score
    Home feels like an afterthought, the sound of Chung's craft diluted to the point where it's barely there.
    • 76 Metascore
    • 40 Critic Score
    Whenever the Men establish any semblance of momentum, they quickly squander it.
    • 74 Metascore
    • 40 Critic Score
    With both the humor and production style of his densely layered music remaining overwrought, Wondrous Bughouse leaves a distinct impression that it was a lot more fun to make than it is to listen to.
    • 69 Metascore
    • 40 Critic Score
    Anyone introduced to her through Beautiful would be hard-pressed to figure out what all the fuss is about, since it reflects neither the vocal virtuosity nor the wide-ranging musical adventurousness of her best work
    • 73 Metascore
    • 40 Critic Score
    The root of the album's failings lies in Lynch's failure to take risks.
    • 63 Metascore
    • 40 Critic Score
    Despite few-and-far-between curveballs from the xx (the spare "Together") and Nero ("Into the Past," which clearly aches to be included on the next Nicolas Winding Refn movie), The Great Gatsby speaks on Duke and Ella's behalf when it says, "It don't mean a thing." Period.
    • 60 Metascore
    • 40 Critic Score
    Jay proves less of a presence than ever, and his rapping is lifeless and anemic enough to skirt self-parody.
    • 72 Metascore
    • 40 Critic Score
    Guy's new album, Rhythm & Blues, spills onto two discs, one named "Rhythm" and the other "Blues," and the conceit would work if both halves of the album weren't each encrusted with the same indistinguishable cheese.
    • 60 Metascore
    • 40 Critic Score
    They seem stuck returning to the same predictable song structures and turgid melodies that made them famous in the first place.
    • 73 Metascore
    • 40 Critic Score
    Each album in the band's discography has benefitted from a sense of chaos, an always-looming and welcome threat that things could come unhinged at any moment. The uninspired and wearisome On Oni Pond never creates such tension.
    • 65 Metascore
    • 40 Critic Score
    The problem with Kiss Land is that it fails on both fronts, presenting a musically static album that's also disturbingly backward on gender issues, with a sustained focus on degradation that no longer seems anything but vile.
    • 62 Metascore
    • 40 Critic Score
    The swampy, claustrophobic MGMT is never as interesting or smart as the crowd-pleasing sing-alongs on Oracular Spectacular.
    • 72 Metascore
    • 40 Critic Score
    Lousy with Sylvianbriar is, quite simply, a weary album.
    • 64 Metascore
    • 40 Critic Score
    Bloated with all manner of interstitial suites and assorted skit-like stopgaps, the 19-track Because the Internet could serviceably represent the titular web Glover finds so perplexing.
    • 71 Metascore
    • 40 Critic Score
    Generic enough to have been produced by anyone, After the Disco is a yawner made by two artists whose impressive discography makes its failure that much more confounding.
    • 66 Metascore
    • 40 Critic Score
    Compared to Dream River, Have Fun with God sounds like a featureless expanse of echoing congas, with the artist occasionally rising from the depths to sing something that doesn't make sense.
    • 71 Metascore
    • 40 Critic Score
    Whether drudging up stale '80s-rock signifiers or indulging in lifeless electronic frivolity, this is an album that attempts to skate by on pure surface appeal in order to distract from the obtuse social commentary at its core.
    • 58 Metascore
    • 40 Critic Score
    Had Supermodel ended with this potent one-two punch, one might be inclined to view the rest more charitably. Sadly, it finishes with two bits of acoustic muzak ("Fire Escape" and "Goats in Trees") and a bid to beat Imagine Dragons at its own game with the kind of frantic Meatloaf-goes-electronica favored in YA-movie soundtracks.
    • 66 Metascore
    • 40 Critic Score
    Repeating very simple, barely there melodies over spare arrangements and ghostly keys is fine when you're soundtracking a Michael Mann film, but it isn't enough to fill the long gaps between your club-crashers.
    • 68 Metascore
    • 40 Critic Score
    Trigga is otherwise designed like a Hollywood blockbuster: squandered talent, obvious themes, and fleeting moments of creative excellence that stick among the clich├ęs.
    • 62 Metascore
    • 40 Critic Score
    Unfortunately, his wide-lens worldview leaves Yes! feeling like the musical equivalent of a G-rated sitcom.
    • 54 Metascore
    • 40 Critic Score
    This sense of puzzled division remains the only really interesting thing about Blacc Hollywood, an album that's remarkable only as a ghostly portrait of a half-formed figure prowling the fringes of success.
    • 65 Metascore
    • 40 Critic Score
    Boredom isn't the worst feeling an album can conjure; a sense of wasted opportunity and squandered potential is a wholly graver offense.
    • 77 Metascore
    • 40 Critic Score
    He may have matured in the last 14 years, but there's no indication that's been good for his music, which on Ryan Adams feels lazier and more watered down than ever before.
    • 64 Metascore
    • 40 Critic Score
    Gaga comes off more as a dilettante than an aficionado on Cheek to Cheek.... Bennett doesn't fare a whole lot better, his otherwise charming performances strained throughout. The pair's solo efforts, particularly Gaga's clumsy interpretation of Billy Strayhorn's "Lush Life" and Bennett's surprisingly pitchy rendition of Duke Ellington's "Sophisticated Lady," only serve to spotlight their shortcomings.
    • 68 Metascore
    • 40 Critic Score
    While Pharrell provides the album's high and low points, other collaborators dish out a few forgettable pleasures.
    • 59 Metascore
    • 40 Critic Score
    Most of the covers on With a Little Help from My Fwends don't aim for creative rearrangement; they tend more toward pointless sabotage.
    • 57 Metascore
    • 40 Critic Score
    Regrettably, such ear candy [like "Blame"] is few and far between.
    • 60 Metascore
    • 40 Critic Score
    Non-Fiction is just blandly lazy about developing its representation of women, like it is about everything else. That lack of specificity renders the album ironically hindered by its own overt conception: a story album unable to sustain interest as fiction, non- or otherwise.
    • 61 Metascore
    • 40 Critic Score
    With its chintzy synths, plastic horns, and feather-lite reggae (the stiff, dunderheaded "Right Side of the Road") and lifeless white-guy funk (the bleating "Bamboula"), the album might as well be made up of outtakes recorded 30 years ago.