Slant Magazine's Scores

For 2,255 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:
2,255 music reviews
    • 55 Metascore
    • 40 Critic Score
    Overall, there's little to recommend about T.R.U. Story, with the album perhaps best serving as a warning that not everyone can make the transition from pinch hitter to bona-fide star.
    • 74 Metascore
    • 40 Critic Score
    It's another tiring exercise from an artist who may never tire of releasing such proudly hideous messes.
    • 79 Metascore
    • 40 Critic Score
    With her extraordinary voice having gone AWOL, and with her producer having evidently fallen asleep at the mixing board, Merritt can't overcome Traveling Alone's fundamental dreariness.
    • 66 Metascore
    • 40 Critic Score
    The album neither works on its own merits nor captures what's made Wolf one of today's most compelling musical talents. Sundark and Riverlight takes one of the most captivating, progressive catalogues in contemporary pop and makes it sound like a Picnic with the Pops concert.
    • 67 Metascore
    • 40 Critic Score
    It's a very safe affair, full of platitudes and conspicuous all-American gestures.
    • 73 Metascore
    • 40 Critic Score
    It's simply warmed-over easy listening as rendered by a lo-fi producer who, ironically enough, seems outdated and outmatched in a genre known for being both retro-obsessed and DIY.
    • 56 Metascore
    • 40 Critic Score
    Surprises are few and far between.
    • 76 Metascore
    • 40 Critic Score
    Lady from Shanghai, a mess of sonic blips and disorienting blotches of misshapen clutter, has no secrets; it's impossible to dig deeper into something that's only surface-deep.
    • 59 Metascore
    • 40 Critic Score
    Beta Love is a fine album for the dance floor, a poor one for the headphones, and a disconcerting new direction for the band.
    • 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.