Slant Magazine's Scores

Select another publication »
For 3,124 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: 1,694 out of 3124
  2. Mixed: 1,319 out of 3124
  3. Negative: 111 out of 3124
3124 music reviews
view
per page
    • 70 Metascore
    • 50 Critic Score
    Kelis Was Here
    Kelis Was Here sounds like a talented, left-field hip-hop diva in a holding pattern, concerned about her legacy but uncertain as to how to go about cementing it.
    • 52 Metascore
    • 50 Critic Score
    20 Y.O.
    The saddest thing about 20 Y.O. is that Janet's decision to hedge her bets on an album whose backbone is made up of terrible R&B instead of great dance music.
    • 67 Metascore
    • 50 Critic Score
    Let Me Go, Let Me Go, Let Me Go
    The whole album is relentlessly gloomy, comparable to the general glumness of a Xiu Xiu record but without the fun of a WTF factor.
    • 58 Metascore
    • 50 Critic Score
    The Dutchess
    The album too often seems to be striving to display diversity at the expense of artistry.
    • 74 Metascore
    • 50 Critic Score
    The Tragic Treasury: Songs From A Series Of Unfortunate Events
    The Tragic Treasury is rarely charming: instead of being faux funereal, dirges like "Dreary, Dreary" and "Things Are Not What They Appear" are just funereal.
    • 67 Metascore
    • 50 Critic Score
    Milk White Sheets
    All of Campbell's vocal blemishes could be forgiven if Milkwhite Sheets boasted just a little oomph.
    • 67 Metascore
    • 50 Critic Score
    Kingdom Come
    If all of Jigga's future records sound as labored and flat as Kingdom Come, do we really need him back?
    • 65 Metascore
    • 50 Critic Score
    The Evolution
    I would say she should leave the bumper-sticker philosophizing to Oprah and Tyra and stick to singing, but she doesn't excel at that either.
    • 77 Metascore
    • 50 Critic Score
    Like, Love, Lust & The Open Halls Of The Soul
    After the 12 tracks that make up this album, I "got used to" Sykes's peculiar voice. It's the sentimentality that I could do without.
    • 86 Metascore
    • 50 Critic Score
    Sound Of Silver
    Murphy's willfully pretentious métier, his intentionally inadequate lyrics, and his monotonous sequencing expose a genuine fear of dance.
    • 44 Metascore
    • 50 Critic Score
    The Weirdness
    The Weirdness never sounds like anything more than a competent but ultimately unremarkable band that sounds a little like The Stooges.
    • 71 Metascore
    • 50 Critic Score
    Costello Music
    The songs are incredibly catchy but also tediously misogynistic.
    • 61 Metascore
    • 50 Critic Score
    Dignity
    Dignity is bland by any standard.
    • 77 Metascore
    • 50 Critic Score
    God Save The Clientele
    There's nothing to object to and much to admire on God Save The Clientele, but there's also little to celebrate.
    • 57 Metascore
    • 50 Critic Score
    The Boy With No Name
    The band may have paved the way for the likes of Coldplay and Snow Patrol, but they still haven't found their "Clocks" or "Chasing Cars."
    • 67 Metascore
    • 50 Critic Score
    We Are The Night
    We Are The Night, like most high school reunions, fails to kick-start anything other than nostalgia.
    • 61 Metascore
    • 50 Critic Score
    The Mix-Up
    For an album that truly has nothing to say and risks suggesting nothing more need be said, The Mix-Up sounds merely satisfactory now, but I can't wait until some turntablist uses it to drop the science.
    • 53 Metascore
    • 50 Critic Score
    All The Lost Souls
    James Blunt returns with All the Lost Souls, a more piano-driven period piece that's about as edgy as an episode of "Desperate Housewives."
    • 72 Metascore
    • 50 Critic Score
    Spirit If...
    When Drew tones down his approach on tracks like 'Safety Bricks' and 'Gang Bang Suicide,' the result is underwhelming and seems to want for additional input.
    • 50 Metascore
    • 50 Critic Score
    Necessary Evil
    The pastiche of styles on Necessary Evil is quintessential Debbie Harry, but diamonds in the rough aside, it also makes for a wildly uneven, often jarring collection of songs.
    • 53 Metascore
    • 50 Critic Score
    Taking Chances
    The laborious 16-track record purportedly finds the queen of adult contemporary-turned-Vegas attraction taking chances by modernizing her treacly power ballad sound with lots of overdubbed guitars and of-the-moment collaborators.
    • 64 Metascore
    • 50 Critic Score
    System
    Price's remix work has always been more impressive than his original productions and System is no exception.
    • 65 Metascore
    • 50 Critic Score
    X
    One of the most contemporary (and least pleasant) aspects of X is its scattershot production, which gives it the focus-grouped attention deficit disorder more typical of a Gwen Stefani record than one of Minogue's laser-honed disco-princess home runs.
    • 73 Metascore
    • 50 Critic Score
    8 Diagrams
    The formula ain't broken and it occasionally still cracks with some of that old pharmaceutical majesty.
    • 65 Metascore
    • 50 Critic Score
    Pocketful of Sunshine
    Despite some attempts at quasi-uplift ('Freckles') and childhood nostalgia ('Backyard'), there's little here that's likely to reprise the slow-burning success of that inspirational smash ['Unwritten'].
    • 76 Metascore
    • 50 Critic Score
    Angels Of Destruction
    Overproduction, unfortunately, doesn't fully account for its flaws. Too many of the songs invoke heavy-handed spiritual imagery.
    • 74 Metascore
    • 50 Critic Score
    Heretic Pride
    The lack of the sort of overarching theme that powered previous discography standouts 'Tallahassee' and 'The Sunset Tree' through their dull bits means that these moments rob the record of a lot of momentum and goodwill.
    • 81 Metascore
    • 50 Critic Score
    Let The Blind Lead Those Who Can See But Cannot Feel
    The psychiatric exercise of creating the album may have done him some good, but fans of Deerhunter's transcendent rock will have to wait for the band's next album if they want the kind of catharsis that is only hinted at here.
    • 68 Metascore
    • 50 Critic Score
    Good Time
    Good Time, however, too often finds Jackson adopting unfortunate trends in modern country music in place of the thoughtful songwriting that characterizes his earlier work.
    • 76 Metascore
    • 50 Critic Score
    The Odd Couple
    Needless to say, though, Odd Couple doesn't conjure the same immediate wow-factor as "St. Elsewhere."
Page: