Slant Magazine's Scores

For 2,230 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 None Shall Pass
Lowest review score: 0 Fireflies
Score distribution:
2,230 music reviews
    • 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.
    • 78 Metascore
    • 30 Critic Score
    The collaborative efforts of tracks like "Bitch Please II" and "Under the Influence" make Eminem seem like an ornamental prop in Dr. Dre's ever-growing hip-hop dynasty.
    • 57 Metascore
    • 30 Critic Score
    So off-putting as to alienate the band's fanbase.
    • 61 Metascore
    • 30 Critic Score
    "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.
    • 54 Metascore
    • 30 Critic Score
    A reminder that "adult" pop can be every bit as vapid and formulaic as its teenage counterparts.
    • 69 Metascore
    • 30 Critic Score
    Less a rebound from the indulgent for-friends-and-family-only nightmare of Rehearsing My Choir than a lateral side-step, Bitter Tea sounds like a desperate plea to be labeled as "clever."
    • 59 Metascore
    • 30 Critic Score
    The only personality displayed on So Amazin' is that of her contemporaries and predecessors.
    • 73 Metascore
    • 30 Critic Score
    Getting Somewhere is the first of her albums that not even her vocals can save.
    • 50 Metascore
    • 30 Critic Score
    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.
    • 78 Metascore
    • 30 Critic Score
    Happy Hollow is far too grouchy to be taken seriously.
    • 62 Metascore
    • 30 Critic Score
    You can practically hear the energy draining away as the album progresses and one song slides into another, indistinguishable by either melody or lyric.
    • 67 Metascore
    • 30 Critic Score
    An enormous disappointment.
    • 52 Metascore
    • 30 Critic Score
    The results are disastrous.
    • 73 Metascore
    • 30 Critic Score
    As a country album, a pop album, or something in between, Love, Pain, & The Whole Thing is simply bad.
    • 76 Metascore
    • 30 Critic Score
    Maybe pastiche is inevitable, even in the Japanese avant garde scene, but can't it at least be a little more fun?
    • 65 Metascore
    • 30 Critic Score
    These songs are rendered so faithfully they may as well be karaoke.
    • 58 Metascore
    • 30 Critic Score
    50 doesn't fare any better on the softer side: 'Amusement Park' proves he's one of the worst lyricists alive.... It's not just the metaphors, though, it's the execution.