Slant Magazine's Scores

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For 3,121 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: 1,691 out of 3121
  2. Mixed: 1,319 out of 3121
  3. Negative: 111 out of 3121
3121 music reviews
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    • 76 Metascore
    • 80 Critic Score
    Fine Line
    Fine Line is very much a document of a 25-year-old deep in the process of figuring out not just what kind of musician he wants to be, but what kind of person. The path from cookie-cutter boy-band member to bona fide rock star is one fraught with a lot to prove both personally and publically, and yet it’s one Styles seems to be navigating with an eagerness to learn, to experience and to experiment.
    • 69 Metascore
    • 70 Critic Score
    Our Pathetic Age
    As is frequently the case with double albums padded with filler, Out Pathetic Age’s biggest problem is that too much of it feels disposable, anodyne, or tossed off. But Shadow still manages to get some strong work out of both himself and his guests, and he deserves credit for not trying to merely recreate the same trick over and over.
    • 82 Metascore
    • 90 Critic Score
    I Made a Place
    Oldham’s albums as Bonnie “Prince” Billy always achieve a cohesiveness that makes the whole greater than the sum of its parts, and I Made a Place is no exception.
    • 88 Metascore
    • 90 Critic Score
    Magdalene
    The album is a knotty meditation on the process of separating self-perception from public perception, and of twigs’s reclamation of her body and work as hers and hers alone.
    • 72 Metascore
    • 80 Critic Score
    Sweating the Plague
    While welcome, a more ambitious sound may very well soon make way for another round of succinct instant-classics like the recent “Cohesive Scoops” and “The Rally Boys.” For now, it’s worth appreciating this exciting outlier and a Guided by Voices that can be led triumphantly into uncharted water by its intrepid captain.
    • 77 Metascore
    • 70 Critic Score
    Fibs
    The songwriting on FIBS is just as experimental as the arrangements, at least on the album’s first two-thirds. ... f there’s a dip in momentum, it starts at FIBS’s most conventional song, “Limpet,” which follows a more typical guitar-rock arrangement. Downtempo tracks like “Ribbons” and “Unfurl” also suffer in comparison to the album’s richer, bolder experiments.
    • 76 Metascore
    • 70 Critic Score
    Juice B Crypts
    Juice B Crypts occasionally threatens to collapse beneath the weight of its overstuffed songs. But even when it’s too maximalist for its own good, Battles’s music is still compelling. That’s thanks in large part to Stainer’s mind-meltingly good drum work.
    • 82 Metascore
    • 70 Critic Score
    Vagabon
    Vagabon finds the singer retreating to the comfort of her computer’s Logic program to fashion a world almost entirely around her honeyed vocals. Although you won’t find many ‘90s-infused indie jams like “Minneapolis” or “The Embers” here, Tamko’s voice never sounds strained in ways it once did either.
    • 85 Metascore
    • 80 Critic Score
    Two Hands
    Ranging from guttural yowling to barely contained explosiveness, Lenker’s voice is the perfect vehicle for Big Thief’s dark, pretty songs about personal and political wreckage.
    • 79 Metascore
    • 80 Critic Score
    Closer to Grey
    Closer to Grey is another haunting synth-pop house of mirrors that transcends the nostalgia of the Chromatics’s prior work.
    • 96 Metascore
    • 90 Critic Score
    Ghosteen
    Ellis and Cave create an ambient field where all of the ambiguities of grief and hope can exist at once.
    • 81 Metascore
    • 70 Critic Score
    Ode To Joy
    Tthe album is a bit monochromatic, lacking the classic guitar heroism that has, in the past, allowed Wilco to buck the dad-rock label. Twelve years on from Sky Blue Sky, the band would benefit from opening up their sound again—and getting a little bit weird.
    • 89 Metascore
    • 90 Critic Score
    All Mirrors
    All Mirrors is challenging and confrontational, and rewards close, present listening.
    • 78 Metascore
    • 70 Critic Score
    In the Morse Code of Brake Lights
    It doesn’t sound like one of Newman’s more intimate, acoustic-focused solo albums, exactly—too many orchestral flourishes, hyperactive keyboards, and Case showcases for that—but at least half of it feels more like A.C. Newman & Friends than any of the band’s previous efforts.
    • 77 Metascore
    • 80 Critic Score
    Chastity Belt
    With production assistance from Jay Som, Chastity Belt presents a tangible thickening of the band’s sound, with the introduction of strings on “Effort,” “Rav-4,” and “Half-Hearted” and keyboards on “Split” adding texture to their characteristic fuzzed-out guitar arrangements. Each melody and every drum fill feels intentional, and the group’s shared vocals and light-as-air harmonies seem like a meaningful statement of where they are as a band—and as friends.
    • 80 Metascore
    • 80 Critic Score
    Charli
    The result is a collection of sad bops masquerading as bangers, just as perfect for the club as for a solo bedroom dance party. Like much of pop music, Charli’s lyrics favor broad strokes over more specific narratives, leaving her songs open to interpretation.
    • 73 Metascore
    • 80 Critic Score
    The Competition
    The Competition uses the aesthetics of the ‘80s dance floor to try to understand the rising tide of global nationalism. That makes it an easy listen despite its divisive subject matter.
    • 80 Metascore
    • 70 Critic Score
    The Highwomen
    The album’s opening track, “Highwomen,” is a powerful and succinct recalibration of Jimmy Webb’s “The Highwayman.” ... Other songs on The Highwomen give voice to women’s struggles in a more lighthearted manner, and with mixed results.
    • 87 Metascore
    • 80 Critic Score
    Norman Fucking Rockwell!
    Distilled to their barest elements, the songs on this album reveal themselves not to be hollow vessels for vapid self-absorption, but frank assessments of the psychic effects of a world spiraling into chaos. ... She’s made an album with the unfettered focus and scope worthy of her lofty repute.
    • 79 Metascore
    • 70 Critic Score
    Lover
    Some pop stars may be too big too fail. Swift’s songwriting suffers from occasional bromides, and Lover can feel both overthought and, at a lengthy 18 tracks, under-edited. But Swift’s well-earned reputation for over-sharing, reflective of the generation for which she’s become a spiritual envoy, coupled with her newfound egalitarianism makes her not just a compelling pop figure, but an essential one.
    • 82 Metascore
    • 70 Critic Score
    Anak Ko
    While it might lack a rave-up pop number like Everybody Works’s infectious “1 Billion Dogs,” Anak Ko offers plenty of reasons to follow Duterte down whatever road may lay ahead.
    • 80 Metascore
    • 80 Critic Score
    I, I
    The album seems to suggest that Bon Iver is transitioning from a band in the traditional sense of the word into a looser collective. Despite the album’s intense pessimism and anxiety, Bon Iver’s organization speaks to the power of forging a community to battle back against darkness.
    • 77 Metascore
    • 90 Critic Score
    How Do You Love?
    Throughout, these songs depict human connection in all its messy glory, making the case that the glory is worth the mess.
    • 75 Metascore
    • 70 Critic Score
    Thrashing thru the Passion
    Even if the band’s guitar work isn’t what it used to be, Finn’s storytelling prowess certainly is, and along with his usual barrage of smartest-guy-at-the-dive-bar one-liners, an appropriate shift in his perspective as a lyricist is evident.
    • 76 Metascore
    • 80 Critic Score
    Immunity
    Cottrill’s ability to work outside the mold of indie rock and close-to–the-bone commentary puts her in the same camp as contemporaries Mitski and Snail Mail, but there’s something about her aloofness and measured control that feels profoundly unique.
    • 79 Metascore
    • 80 Critic Score
    First Taste
    The result is an album that finds Segall expanding his sound while holding onto the blissed-out maximalist streak that has defined his work to date.
    • 75 Metascore
    • 80 Critic Score
    Order in Decline
    Clocking in at just over 35 minutes (not including two bonus acoustic tracks), Order in Decline mercifully sheds the filler that bogged down the band’s previous releases. Ten amped-up tracks provide just the right amount of time to savor but not tire of its focused intensity. ... The album’s pitch-perfect production and riotous bombast make for a hell of a fun ride.
    • 84 Metascore
    • 80 Critic Score
    ANIMA
    Anima still achieves a sonic and thematic through line. The album’s juxtaposition of lyrical techno-dread with austere, ghostly electronic music is satisfyingly unsettling. The lyrics are evocative in their economy, and rather than feel like guide tracks, the arrangements feel more fully realized than on Yorke’s past albums.
    • 80 Metascore
    • 80 Critic Score
    Jinx
    Though their sonic palate is monochromatic, their music is both cogent and engrossing. Jinx feels like a hallucination that proves hard to shake.
    • 81 Metascore
    • 90 Critic Score
    Help Us Stranger
    Help Us Stranger is another compelling exhibit in the band’s continuing quest to prove that there’s still more to be mined from the supposedly anachronistic guitar-rock template. Almost every track here is another example of one that would never have reached the same heights without the contributions of each band member.
    • 63 Metascore
    • 80 Critic Score
    Widow's Weeds
    Widow’s Weeds may lack the arena-sized atmospherics and anthemic party songs of past Silversun Pickups efforts, but with each additional listen the hooks sink in deeper and the melodies stay longer in your head. It’s catchy, heartfelt, and far less forgettable than…what were those previous two albums named again?
    • 70 Metascore
    • 80 Critic Score
    Madame X
    Madonna has a reputation for being a trendsetter, but her true talent lies in bending those trends to her will, twisting them around until they’re barely recognizable, and creating something entirely new.
    • 89 Metascore
    • 80 Critic Score
    LEGACY! LEGACY!
    Although the album explores intergenerational black trauma and joy, Woods’s personal insight into such experience functions as the album’s anchor and serves as a more accessible entry point.
    • 79 Metascore
    • 70 Critic Score
    Dedicated
    Dedicated, is a carefully calibrated attempt at brand extension, reprising the effervescent pop of her last two albums while at the same time acknowledging that the 33-year-old is now a full-grown woman. For the most part, Jepsen succeeds at threading that needle.
    • 81 Metascore
    • 80 Critic Score
    I Am Easy to Find
    One does eventually feel the album’s length, with the stretch of songs in between “You Left Your Soul with You” and “I Am Easy to Find” feeling comparatively pedestrian—the sounds of a band treading more familiar ground before really staring to take chances. But once they do, the sprawl quickly begins to justify itself, revealing some of the most ambitious music the National has ever made.
    • 82 Metascore
    • 70 Critic Score
    Father of the Bride
    At 18 tracks and 58 minutes, Father of the Bride is by far the longest release by a band whose brevity was once one of their best characteristics. This results in a not-insignificant amount of bloat, including at least one or two songs—like the lounge jazz disaster “My Mistake”--that should have been left in the outtakes pile.
    • 69 Metascore
    • 70 Critic Score
    Here Comes the Cowboy
    Like 2017’s This Old Dog and 2015’s Another One, the album doesn’t represent a progression so much as a broadening of what DeMarco has already proven himself to be capable of as a songwriter.
    • 79 Metascore
    • 70 Critic Score
    I Need a New War
    With its dreamy atmosphere and loitering tempos, the album is more reliant than ever on Finn’s wordplay. ... At the same time, Finn can get too bogged down in minutiae, such as devoting an entire verse of “Holyoke” to binge-watching TV shows. But even then, the aside serves the song’s larger purpose of illustrating the anxiety-ridden narrator’s vain attempts to distract himself from the omnipresence of death.
    • 84 Metascore
    • 80 Critic Score
    Cuz I Love You
    Expertly sequenced in a concise, 33-minute package, Cuz I Love You moves from strength to strength. Even its more minor tracks feature standout moments.
    • 82 Metascore
    • 80 Critic Score
    Ventura
    Ventura serves as a reminder of the magic that can result from looking to the past to inform the future.
    • 79 Metascore
    • 70 Critic Score
    No Geography
    Save for the wonky sequencing choice of front-loading the two most negligible songs ... No Geography could easily pass for a collection of epic B sides to some of Tom Rowlands and Ed Simons’s signature classics.
    • 74 Metascore
    • 70 Critic Score
    Dusty Notes
    Fortunately, though an old-school country aesthetic defines the album—the banjo picking on “Nine Pins,” the sweet hillbilly harmonies on “Outflow”--Curt’s irrepressible songwriting quirks make the rest of Dusty Notes anything but formulaic. The post-Bostrom Meat Puppets have often veered much closer to modern alt-country than the hardcore of their early days, and Dusty Notes is no exception; in fact, it might be the mellowest of their albums to date.
    • 88 Metascore
    • 90 Critic Score
    Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990
    By showcasing an artistic fusion of the tranquil with the bustling, the primal with the technologically advanced, the compilation shows how much work has already been done to find ways of summarizing and celebrating the potential of this new reality.
    • 85 Metascore
    • 70 Critic Score
    Walk Through Fire
    Yola seems capable of not only expertly mimicking the sounds of the past, but also creating something that will itself stand the test of time.
    • 68 Metascore
    • 70 Critic Score
    Hello Happiness
    It’s worth applauding Khan, who turns 66 next month, for continuing to make an album as vital and contemporary-sounding as Hello Happiness.
    • 79 Metascore
    • 70 Critic Score
    Signs
    While not without its flaws, Signs heals in this way. It’s often so joyous and spirited that, for a moment, it’s easy to envision better times ahead.
    • 86 Metascore
    • 70 Critic Score
    thank u, next
    Thank U, Next is easily Grande’s most sonically consistent effort to date, even if that means some of the album’s sleek R&B tracks tend to blur together.
    • 70 Metascore
    • 80 Critic Score
    Buoys
    Buoys may not mark a major departure in Panda Bear’s sound, but it bristles with the creative energy of an artist confronting his deepest, most destructive demons.
    • 80 Metascore
    • 80 Critic Score
    Future Ruins
    The band flips the traditional lexical of their genre, emphasizing the spaces between the anthemic, quasi-pavlovian verse-chorus-verse structure that defines classic rock n’ roll. The band’s sixth album, Future Ruins, similarly thrives in the spaces between the power chords and choruses.
    • 82 Metascore
    • 70 Critic Score
    Sunshine Rock
    Be assured that Sunshine Rock maintains a mostly sharp-edged sound, at least approaching the same prodigious level of guitar fuzz that made Patch the Sky such a bracing kick in the jaw.
    • 78 Metascore
    • 70 Critic Score
    Better Oblivion Community Center
    The songs on Better Oblivion Community Center are contemplative rather than declarative, granting the artists a chance to approach sorrow in a cheekier manner and find reserves of hope amid the wreckage.
    • 75 Metascore
    • 80 Critic Score
    Stuffed & Ready
    Cherry Glazerr’s most mature and complex album to date.
    • 69 Metascore
    • 70 Critic Score
    Look Alive
    “Don’t Go” transplants a prototypical Guster melody into a synth-soaked songscape, while the title track seems expressly engineered for Spotify’s Left of Center playlist. Still, the album never feels like the work of aging musicians struggling to stay relevant; it buzzes with inventiveness, charm, and youthful dynamism.
    • 82 Metascore
    • 70 Critic Score
    Why Hasn't Everything Already Disappeared?
    This is a Deerhunter album, so closer listening reveals much more going on beneath the surface. To be fair, though, Why Hasn’t Everything Already Disappeared? isn’t as viscerally challenging as many of the band’s prior efforts.
    • 83 Metascore
    • 80 Critic Score
    A Brief Inquiry into Online Relationships
    This is a content-saturated album for a content-saturated world. Here, there’s real substance and there’s total fluff, and it’s up to us to find out what’s worth listening to.
    • 84 Metascore
    • 70 Critic Score
    Warm
    None of Tweedy’s studio work has ever quite captured how funny he can be in this format, and for the most part, Warm is no exception. But the album comes close, in both timbre and tone, to reflecting the unvarnished Tweedy that shows up at his solo shows.
    • 82 Metascore
    • 70 Critic Score
    Caution
    Caution feels like the album Mariah has wanted to make all along: one that literally throws caution to the wind and sees her embracing her inner weirdo. And, ironically, it took her ending up back at Sony Music to do it.
    • 78 Metascore
    • 70 Critic Score
    Ghost Forests
    It’s a perfectly-balanced 36 minutes, and hopefully a foreshadow of more collaborations to come.
    • 75 Metascore
    • 70 Critic Score
    Elastic Days
    Like Zuma, Elastic Days takes a little time to warm up to, but once it’s sunk in, it’s as comfortable as an old pair of jeans.
    • 89 Metascore
    • 80 Critic Score
    Honey
    At nine lean but often seemingly formless tracks, Honey feels raw and incomplete, like a work in progress--and maybe that’s the point.
    • 74 Metascore
    • 80 Critic Score
    Us
    Considerably brighter, both thematically and tonally, than its predecessor, the album ascertains the guileless exhilaration of love.
    • 78 Metascore
    • 70 Critic Score
    Lovers Rock
    Estelle’s fifth studio album, Lovers Rock, both bottles the ardor of the eponymous reggae style and testifies to the force of a deep and resilient love.
    • 69 Metascore
    • 70 Critic Score
    Warzone
    That whimsical spirit is perhaps Warzone‘s defining characteristic, despite a tracklist that leans heavily on songs about war and other forms of violence. .... Also fully intact is Ono’s trademark shriek, which has, if anything, grown richer and more resonant with age.
    • 83 Metascore
    • 70 Critic Score
    Look Now
    With its mix of rock and balladry, Look Now strikes a fine balance between the lively and the pensive, nodding to previous eras of Costello’s career.
    • 79 Metascore
    • 70 Critic Score
    Wanderer
    Time and again, Marshall has been reductively pegged as a gloomy singer-songwriter struggling with substance abuse and mental illness. But while her vulnerability here lends itself to melancholy, it’s also triumphant and resolute.
    • 83 Metascore
    • 70 Critic Score
    Dose Your Dreams
    Without Abraham’s consistent presence, Fucked Up’s music sounds almost conventional. Fortunately, Dose Your Dreams proves they’ve got a deep enough bag of tricks--including a towering throng of endless overdubs and genre detours that sound as massive as the band’s ambitions--to make even conventionality sound compelling.
    • 80 Metascore
    • 70 Critic Score
    C'est La Vie
    C’est La Vie doesn’t thrum with the roiling tension of Muchacho, but in finding a sense of serenity and calm in whatever life throws at him, Houck strikes a balance between happiness and longing that’s often nothing short of sublime.
    • 75 Metascore
    • 70 Critic Score
    Digital Garbage
    Digital Garbage may not be the most eloquent expression of our frustrations, but it’s as cathartic and life-affirmingly juvenile as a well-placed middle finger.
    • 89 Metascore
    • 80 Critic Score
    Chris
    Unlike most ephemeral pop music today, Chris--like the gender-fluid character at its center--feels consequential and everlasting.
    • 83 Metascore
    • 70 Critic Score
    Piano & A Microphone 1983
    The first half of Piano & a Microphone 1983 unfolds as a kind of stream-of-consciousness medley. ... The album’s three previously unreleased songs are also of note, even if they’re just rough drafts.
    • 82 Metascore
    • 70 Critic Score
    Collapse [EP]
    For a once-hermetic artist, James's recent output has trended toward greater accessibility, but even by that measure, Collapse's biggest surprise lies in how warm and inviting it all is.
    • 81 Metascore
    • 70 Critic Score
    The Crossing
    Whether the album is supposed to be taken as a contemporary tale or something closer to a retelling of Escovedo's personal history matters because, frankly, times have changed. This is why the album's most universal songs have the most resonance.
    • 84 Metascore
    • 70 Critic Score
    And Nothing Hurt
    Motivated more by financial necessity than the hubris it must take to even believe such an undertaking would be feasible, Pierce nonetheless constructs a thickly layered album. And while its inherent limitations are evident at times, it's a work of characteristic ambition and poignancy.
    • 99 Metascore
    • 100 Critic Score
    Music from Big Pink [50th Anniversary]
    It's this funhouse-mirror approach to the past—backward-looking but never self-consciously “retro”—that makes Music from Big Pink feel truly timeless. This goes double for this anniversary edition, which features a revelatory new mix supervised by veteran engineer Bob Clearmountain. His work brings a feeling of presence to the album.
    • 85 Metascore
    • 70 Critic Score
    Bloom
    The songs that leave the most lasting impression are the most downbeat.
    • 84 Metascore
    • 70 Critic Score
    Hunter
    By revealing the full spectrum of her sexual expression and identity, she makes a bold and defiant statement on postgenderism through uncompromising music that's alternately elegant and raw.
    • 84 Metascore
    • 90 Critic Score
    Negro Swan
    It's this ability to capture both sides with equal commitment--the struggle and the resistance through self-love--that makes Negro Swan Hynes's most assured, accomplished, and significant album to date.
    • 81 Metascore
    • 70 Critic Score
    Sweetener
    For the most part, though, the formula results in an album that's both consistent and refined, a reflection of Grande's growing awareness of herself as an artist and her place in the world.
    • 73 Metascore
    • 80 Critic Score
    Marauder
    These measured musical and lyrical tangents complement more than contrast the album's thematic focus on reckless impulsivity. Rather than simply dwelling on the potential for ruin, the band acknowledges the euphoria that can greet those who follow their whims, resulting in an album that crackles with the energy of embracing life's unpredictable turns.
    • 87 Metascore
    • 80 Critic Score
    Be the Cowboy
    Only three of the album's 14 tracks exceed two-and-a-half minutes, but Mitski manages to pack so much into those scant running times that they play more like miniature suites.
    • 78 Metascore
    • 70 Critic Score
    Swimming
    Swimming captures Miller at a creative apex where he's acutely aware of where he's been and where he can go.
    • 83 Metascore
    • 80 Critic Score
    Hive Mind
    The result is the Internet’s most musically diverse and synergetic album to date.
    • 80 Metascore
    • 70 Critic Score
    Sixth House
    It's a layered, engaging addition to one of indie-rock's most slept-on songbooks.
    • 95 Metascore
    • 90 Critic Score
    Appetite for Destruction: Super Deluxe Edition [Box Set]
    Its hours of bonus content do offer a fresh perspective on one of the last great rock albums of the pre-alternative era. That material--including a handful of B-sides, previously unreleased demos, and most of the 1988 EP G N' R Lies (more on that later)--is the set's chief selling point.
    • 80 Metascore
    • 80 Critic Score
    Everything is Love
    At times an opulent spectacle and at others a full-bodied avowal of devotion, Everything Is Love stands as a monumental testament to keeping it real.
    • 77 Metascore
    • 70 Critic Score
    Bad Witch
    While 2016's Not the Actual Events explores dissociative identities and 2017's Add Violence brims with paranoia about our increasingly simulated reality, Bad Witch moves past such insular anxieties and more directly acknowledges that society's chaos is the result of our collective hubris. ... Reznor conveys a bleaker and more visceral sense of desperation on the album's two instrumental tracks.
    • 84 Metascore
    • 80 Critic Score
    What Heaven Is Like
    What Heaven Is Like's wizardry lies in the band's uncanny ability to make their finely tuned chemistry sound like off-the-cuff jamming between amateurs in a basement.
    • 80 Metascore
    • 80 Critic Score
    Lush
    Jordan ultimately transcends much of the chaos, coming out stronger on the other side. Habit communicated the anguish of endings, but Lush offers hope for new beginnings, arriving at a liberating quietus.
    • 75 Metascore
    • 80 Critic Score
    Let's Make Love
    Let’s Make Love reaffirms Brazilian Girls’s penchant for imagery of bustling streets, crowded cafés, and the buzz of cities in perpetual motion.
    • 80 Metascore
    • 70 Critic Score
    7
    Rock n’ roll is body music, and like the best electronic music, it aims for the gut. But even at their liveliest, the songs on 7 are designed for the head--a shot straight to the mind.
    • 76 Metascore
    • 70 Critic Score
    Tranquility Base Hotel + Casino
    Though Turner may be sardonic to a fault, making it difficult to determine where the snark ends and genuine sentiment begins, the album is audacious in its conceptual conceit, challenging expectations established through the boozy nightlife anthems of the band's earlier work with an experimental approach that's contemplative and unrepentantly abstruse.
    • 84 Metascore
    • 70 Critic Score
    Sparkle Hard
    Malkmus has been prone to juxtaposing tasteful pop songs with classic-rock elements and offbeat lyrics since Slanted and Enchanted, and the audible delight he still takes in such musical mischief is apparent throughout Sparkle Hard.
    • 80 Metascore
    • 90 Critic Score
    Tell Me How You Really Feel
    Barnett's sophomore effort is a striking manifestation of gnawing anxieties, both internal and external; it may lack some of the instant affability of 2015's Sometimes I Sit and Think, and Sometimes I Just Sit, but that's by design.
    • 82 Metascore
    • 80 Critic Score
    Wide Awake!
    With Danger Mouse's help, the band has crafted a diverse and intrepid album, stepping out of their comfort zone musically while also exuding a trenchant political posture.
    • 72 Metascore
    • 70 Critic Score
    Dove
    Belly might take a more conventional approach to their music now, but Dove proves it can still take flight.
    • 87 Metascore
    • 70 Critic Score
    Dirty Computer
    While the songs here are consistently hooky, they lack the earlier albums' sonic adventurousness.
    • 86 Metascore
    • 80 Critic Score
    Sparrow
    With Sparrow, she's topped even that achievement [The Blade], creating a rich and emotional album that feels deeply connected to the past but also fully engaged with the present.
    • 84 Metascore
    • 80 Critic Score
    Invasion of Privacy
    Cardi climbed her way up from the bottom, and Invasion of Privacy is a soundtrack for anyone who dreams of doing the same.
    • 63 Metascore
    • 70 Critic Score
    Golden
    While country signifiers abound, from foot-stomping to fiddling, the songs on Golden also smartly juxtapose contemporary pop elements like soaring synth hooks and pitched-up vocals.
    • 80 Metascore
    • 70 Critic Score
    The Louder I Call, The Faster It Runs
    It all manages to hang together thanks to the fact that, after some trial and error, Wasner and Stack have hit on a sound all their own.
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