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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per page
    • 77 Metascore
    • 80 Critic Score
    Gliss Riffer
    What results is a swirling accumulation of sound, forming into manic campfire roundelays emphasizing themes of community and recovery, the scrappy spectacle of beauty shaped from shiftless sonic waste.
    • 64 Metascore
    • 70 Critic Score
    True Romance
    Unapologetically indulging her distinctive genre tastes, True Romance largely proves that Estelle's talents were being too encumbered by the demands of record execs and producer John Legend, delivering a fleet 45 minutes of music that sounds more true to her West London upbringing.
    • 83 Metascore
    • 70 Critic Score
    Blackbirds
    Blackbirds [is] just a hair less successful than Peters's last album, 2012's Hello Cruel World, a self-described "manifesto" that cultivated a level of consistency not quite matched here. But the strength of the new album is less that of its constituent parts than the sum of their focus, and that's by design.
    • 87 Metascore
    • 90 Critic Score
    I Love You, Honeybear
    It's a rare fulfillment of outsized ambition and a crystallization of Tillman's inimitable narrative verve, however unreliable his narrator may be.
    • 82 Metascore
    • 70 Critic Score
    Shadows in the Night
    The songs chosen are elegiac, and Dylan balances out any hints of winking self-awareness by freighting his new compositions with a heavy air of wistful sadness.
    • 71 Metascore
    • 70 Critic Score
    Mansion Songs
    If Howlin Rain likes to draw from rock tradition, they also like to push that tradition to its limit, often creating momentary points of chaos, a sense that the songs could fall apart at any moment.
    • 65 Metascore
    • 80 Critic Score
    Transfixiation
    For a band so obsessed with death, and its erotic possibilities, they sound utterly alive on Transfixiation.
    • 76 Metascore
    • 70 Critic Score
    Girls in Peacetime Want to Dance
    Girls in Peacetime Want to Dance is the most overtly political B&S album to date. But Murdoch is still most interested in characters and how they react to the world rather than regurgitating liberal talking points, and he hasn't lost his satirical edge one bit over the years.
    • 75 Metascore
    • 70 Critic Score
    B4.DA.$$
    Bada$$ may not have Lamar's gift for lyricism or narrative, but his work is impressively composed for such a young voice, stringing together intricate series of metaphors over crisp, non-intrusive old-school beats.
    • 77 Metascore
    • 70 Critic Score
    What a Terrible World, What a Beautiful World
    The album is a much bigger sounding, musically diverse effort than its concise, uniform predecessor, featuring cellos, horns, and mellotrons, as well as a renewed focus on the versatile fretwork of lead guitarist Chris Funk
    • 73 Metascore
    • 70 Critic Score
    Uptown Special
    Stax-style guitar figures and bass walks undergird most of the songs, yet Chabon's peculiar imagery and Ronson's use of the occasional drum machine and synthesizer keep Uptown Special from sounding either like an earnestly literary concept album or a kitschy imitation of Ronson's favorite records from the not so distant past.
    • 85 Metascore
    • 80 Critic Score
    Reality Show
    Part of what makes her new album, Reality Show, so remarkable is how often it dares to foreground her pen over her pipes.
    • 90 Metascore
    • 70 Critic Score
    No Cities to Love
    Accept the slight strain of portentousness to this album, though, and you'll find a world-class rock band in as fine form as ever.
    • 82 Metascore
    • 70 Critic Score
    Panda Bear Meets the Grim Reaper
    Grim Reaper is consistently engaging, often catchy, and sometimes disarmingly pretty.
    • 95 Metascore
    • 100 Critic Score
    Black Messiah
    D'Angelo's assuredly delivered a great album, one that, even in these nascent days of our receiving it, already feels like something that's always been, that's necessary, and that was probably worth any wait.
    • 75 Metascore
    • 80 Critic Score
    Sucker
    Someone needed to author the aural equivalent of the body shot, and Charli XCX has provided the platonic ideal of just that: a party album charged equally with punkish rebellion, hip-hop cool, and pop universality.
    • 70 Metascore
    • 70 Critic Score
    The Pinkprint
    This is a big step forward for the genre, and makes one wish that Minaj's content could be as good as her form, that more attention was paid to crafting complex rhymes and less on floating through halfway conceived tracks in a sing-song burble. Yet even if she hasn't fully nailed the balance between her different modes, at least Minaj is doing something challenging, offering a third different approach on her third album.
    • 67 Metascore
    • 70 Critic Score
    Classics
    Considering the fact that classics on Classics have already been rendered hundreds of times by some of the most legendary musicians and singers of the last century, Deschanel and Ward's versions are surprisingly engaging.
    • 84 Metascore
    • 80 Critic Score
    Alpha Mike Foxtrot: Rare Tracks 1994-2014
    Even if Wilco is in danger of running out of interesting new places to take their sound, it's only because, as Alpha Mike Foxtrot is a convincing testament to, they've spent the last 20 years taking it to so many places already.
    • 78 Metascore
    • 70 Critic Score
    Seeds
    The album succeeds by being both engaging on a intuitive level and deceptively thoughtful, putting aside overt ambition to pursue a condensed, often melancholy sound that retains TV on the Radio's characteristic inquisitive nature.
    • 69 Metascore
    • 70 Critic Score
    Nick Jonas
    With a mix of urban-leaning tracks and more radio-ready Top 40 fare, the album shrewdly distances Jonas from his former band's straightforward pop-rock.
    • 80 Metascore
    • 80 Critic Score
    The Hum
    On The Hum, this delicate balancing act between abrasive aggression and unfettered tunefulness positions Hookworms as an uncompromising experimental act with festival-sized ambitions, capable of synthesizing disparate and often contradictory sounds into a cohesive and compelling whole.
    • 75 Metascore
    • 70 Critic Score
    The Inevitable End
    Though the album doesn't skimp on potentially insufferable moments of bottom-lip-biting farewell (the final song is titled "Thank You," after all), the best tracks boast a fiercely renewed energy that suggests Berge and Brundtland still have much more to offer.
    • 89 Metascore
    • 100 Critic Score
    RTJ2
    RTJ2 is the rare sequel that bests the beloved original in almost every facet.
    • 76 Metascore
    • 70 Critic Score
    1989
    1989's standout tracks retain the narrative detail and clever metaphor-building that distinguished Swift's early country songs, even amid the diversions wrought by the aggressive studio production on display throughout.
    • 63 Metascore
    • 70 Critic Score
    Sound of a Woman
    Sound of a Woman quickly reveals itself to be a crafty bait and switch. With its scratchy trip-hop beat, soulful vocals, and sparsely placed keyboards and synthesized string stabs, "Losin' My Mind" is more Blue Lines than Big Fun, while the Jessie Ware-esque electro-soul ballads "So Deep" and "Vietnam" find the singer dabbling in drum n' bass and freestyle, respectively.
    • 69 Metascore
    • 70 Critic Score
    Heart on My Sleeve
    Even if certain passages verge on the heavy-handedness that one might find in a high school literary magazine, there's a brazenness to Lambert's self-exposure and a particularity to her diction that distinguish her from other open-hearted songwriters.
    • 83 Metascore
    • 70 Critic Score
    Soused
    Another album which, if not exactly pleasant to listen to, is at least experimentally interesting, continuing Walker's aggressive program of abrasive sonic assaults.
    • 75 Metascore
    • 80 Critic Score
    The Best Day
    As is typical with Moore, the vocal melodies on The Best Day are mostly afterthoughts that usually just blithely follow the guitar parts. Fortunately, this weakness is minimized by the fact that most of the riffs, rendered via a pristinely engineered dual-guitar attack, are excellent.
    • 74 Metascore
    • 80 Critic Score
    Tough Love
    Tough Love is an album that reveals itself gradually, reducing this ever-beguiling artist down to her essence, while offering ample opportunity for her to develop her technique.
    • 77 Metascore
    • 70 Critic Score
    Everything Will Be Alright in the End
    In their best work, unashamed flaws and vulnerability become a secret weapon, even when it's slathered in squealing bait for a future Guitar Hero release like it is on "Lonely Girl," which finds the band finally casting off its slacker straitjacket.
    • 88 Metascore
    • 80 Critic Score
    You're Dead!
    While it may not be clear where we're headed throughout the album, Ellison maneuvers through the bedlam with such confidence that it's not just easy to get swept up in his grand vision of the Great Beyond, but to return for repeat visits.
    • 62 Metascore
    • 80 Critic Score
    ...And Star Power
    The album's third side, titled "Scream: Journey Through Hell," isn't quite that, but it's a mostly abrasive collage of disjointed hard-rock riffs that provide only very intermittent pleasures. In one sense, that stretch of music is a detriment to an otherwise astonishing piece of work; in another, like so many double albums of the past, it's all part of the ride.
    • 86 Metascore
    • 80 Critic Score
    Syro
    Imagine a mirror which distorts not just the reflection, but reality itself, and you have a fair idea of the stunning legacy to which Syro triumphantly belongs.
    • 72 Metascore
    • 80 Critic Score
    Tomorrow's Modern Boxes
    Tomorrow's Modern Boxes successfully pulls off a transitional balancing act that maintains the trademark elements of a Thom Yorke release while injecting subtle moments of fresh invention that hint at new sounds to come.
    • 83 Metascore
    • 80 Critic Score
    Down Where the Spirit Meets the Bone
    Williams has assembled many guest musicians this time around, but despite all the disparate talent, the album is a tight, coherent work that never devolves into self-indulgent jamming, even at an epic 103 minutes.
    • 70 Metascore
    • 70 Critic Score
    This Is All Yours
    The band achieves a surprising degree of poignancy by consistently handling these potentially outrageous moments without the slightest trace of irony.
    • 87 Metascore
    • 70 Critic Score
    Too Bright
    Nothing here sounds revolutionary or even especially distinctive, but Hadreas has successfully conceived of a new context for his raw lyrical approach, opting for a jagged, complex collection of bedroom pop over another sparsely appointed set of torch songs.
    • 79 Metascore
    • 70 Critic Score
    Sukierae
    Cumulatively, it feels like there are just a few too many leftovers. It speaks to Tweedy's skill and experience as a songwriter that what is essentially the aural equivalent of him spending 72 minutes of quiet time with his family doesn't get boring sooner.
    • 77 Metascore
    • 80 Critic Score
    El Pintor
    The band has delivered something even better here: an elegantly simple, aggressive album that understands and acknowledges its own past without nostalgia or bloat.
    • 74 Metascore
    • 70 Critic Score
    Goddess
    Several of Goddess's tracks are carryovers from last year's Fall Over and London EPs, which partly explains the deluxe edition's daunting 18-track, 76-minute runtime. While they add some variety to an album that veers dangerously close to homogenous.
    • 79 Metascore
    • 80 Critic Score
    Brill Bruisers
    Like the band's best work, Brill Bruisers keeps you on your toes with its unrelenting minutiae.
    • 81 Metascore
    • 80 Critic Score
    Manipulator
    Prior to this album, Segall was most notable for his music's exciting collision of manic energy and technical skill. Here he retains those basics while demonstrating a keener focus on song construction and mechanics, the work of an artist who's still intent on tearing things up, but possesses a newly lucid understanding of how to shape interesting music out of the remnants.
    • 78 Metascore
    • 80 Critic Score
    Alvvays
    Though there are moments of frayed musical charm throughout Alvvays, including the irresistible crack in Rankin's voice during the final chorus of "Party Police" and the so-jangly-it-hurts arpeggios of "Atop a Cake," it exhibits an unexpected level of versatility for a debut.
    • 66 Metascore
    • 70 Critic Score
    V
    V is almost cinematic, conjuring up rich, kaleidoscopic vistas as the band transforms from stoned-out beach bums to wide-eyed globetrotters.
    • Slant Magazine
      • Posted Aug 13, 2014
    • 86 Metascore
    • 80 Critic Score
    LP1
    LP1 is more than just a confident debut album. It's primordial in a way that Björk herself has often attempted but frequently short-circuited letting her cognizance get in the way.
    • 82 Metascore
    • 80 Critic Score
    Live from Atlanta
    With so many great songs in one place, a few of them in their definitive forms, it may be that Live from Atlanta is now the most accessible, comprehensive introduction to Lucero available. Just make sure to pair it with a couple of whiskey shots.
    • 78 Metascore
    • 80 Critic Score
    Nobody's Smiling
    Common's latest, Nobody's Smiling, centers on the war-torn streets of South Side, Chicago that Common left nearly two decades ago, a setting the 42-year-old rapper navigates like a hardened local. The album's best moments explore this tension, proving that despite Common's age and commercial success, he can figuratively inhabit Chiraq better than most of the city's rising stars.
    • 81 Metascore
    • 80 Critic Score
    They Want My Soul
    They Want My Soul is both mournful and confessional, its best moments coming when the band members allow themselves to be vulnerable.
    • 68 Metascore
    • 80 Critic Score
    Time Is Over One Day Old
    In their current form, Bear in Heaven may indeed be far more accessible than they were in the mid to late aughts when a song sporting a verse/chorus framework was the exception rather than the rule (even now it's more of a suggestion). Nevertheless, a brazen and workmanlike confidence marks the album as a more recognizable creative evolution than its predecessor's endearing, but ultimately canned, artistic departure.
    • 77 Metascore
    • 70 Critic Score
    Hypnotic Eye
    By the time the second half of the album rolls around, the near-constant procession of sluggish tempos and downbeat refrains begins to wear.... These missteps aren't enough to erase the positive impression of Hypnotic Eye's best moments, but they may cause you to wish that Petty would just lighten up already.
    • 81 Metascore
    • 90 Critic Score
    Lese Majesty
    They work fully as standalone tracks, but feel even more substantial when taken within the overall structure of this beguiling, addictive album, which finally turns this strange duo's intellectual eccentricity into their greatest asset.
    • 76 Metascore
    • 80 Critic Score
    1000 Forms of Fear
    1000 Forms of Fear should be the vessel that rockets the singer out of relative obscurity and into the stratosphere populated by those more recognizable stars who've come to dominate the pop-music universe thanks, in part, to her songwriting skills.
    • 74 Metascore
    • 80 Critic Score
    Dereconstructed
    Dereconstructed sounds like a continually exploding bombshell.
    • 82 Metascore
    • 70 Critic Score
    Sea When Absent
    A Sunny Day in Glasgow pulls it off, skirting the line between complete anarchy and overwrought tinkering well enough to deliver a compelling, if slightly discombobulated, rock pastiche.
    • 69 Metascore
    • 80 Critic Score
    What Is This Heart?
    A collision between complex, elegant songwriting and soppy bedroom angst, it's not the most coherent collection of songs, but that disorder works, ending up as a function of Krell's ultimately fascinating sense of experimentation.
    • 62 Metascore
    • 70 Critic Score
    In the Lonely Hour
    Just when you've started to grow weary of Smith's pity party, it's over. And there are enough moments of genuine musical, lyrical, and vocal virtuosity and soul to crack even the most hardened listener's icy heart.
    • 74 Metascore
    • 70 Critic Score
    Ultraviolence
    Repeated listens reveal nuances, like the acoustic guitar bristling beneath the blues-rock verses of "Sad Girl" and the male backing vocals layering the final chorus of "Brooklyn Baby," but the album's steadfast narcotic tempo and Del Rey's languid delivery, doused in shoegaze-style reverb throughout, conjure a hazy picture of the singer swaying wearily in some sweltering sweat-lodge of a dive in the deep South.
    • 80 Metascore
    • 70 Critic Score
    Stay Gold
    Stay Gold, their third album, is less intimate than their previous effort, The Lion's Roar, but, backed by a 13-piece orchestra and gifted with a rare rapport and plangent voices, employed in close, modulated harmonies, the Söderbergs find their pitched balance in the melancholy and occasional loneliness of the quotidian.
    • 73 Metascore
    • 70 Critic Score
    The Feast of the Broken Heart
    While Butler has for the most part an uncanny ability to match singer to material, his own personal lyrical touch is left slightly remote (he co-wrote many of the songs with his collaborators). Instead, he's a curator par excellence who's once again assembled an aggressive and varied collection of voices who together form an earnest plea to choose compassion over division.
    • 80 Metascore
    • 70 Critic Score
    Lazaretto
    Lazaretto pushes even further in its presentation of strange, misshapen song structures, coming off as kaleidoscopically fragmentary and incendiary.
    • 75 Metascore
    • 80 Critic Score
    Government Plates
    This is transgressive art at its rawest and most chaotic, postmodern punk for the millennial age, and its ferocity is both a strength and a weakness, primal and indiscriminate, deeply felt and totally irrational.
    • 86 Metascore
    • 70 Critic Score
    Are We There
    The lyrics, direct and occasionally graceless, find a deeper resonance in Van Etten's unhurried delivery.
    • 70 Metascore
    • 80 Critic Score
    ...And Then You Shoot Your Cousin
    ...And Then You Shoot Your Cousin is a trim 35 minutes in length, with 11 tracks and eight proper songs, zooming through its disjointed structure without much padding. This slimness functions as a counterweight to the often stifling subject matter, as the group employs its soul-influenced backdrops in a way that feels totally opposed to what most modern hip-hop is doing.
    • 81 Metascore
    • 70 Critic Score
    Blue Smoke
    The country legend mainlines one greeting-card sentiment after another, singing about angels, rainbows, moons, and fishing holes with reckless abandon. But the vividness and genuine conviction in that timeless, still-powerful voice finds the humanity in all of it.
    • 66 Metascore
    • 70 Critic Score
    White Women
    Derivative though White Women often is, and knows it is, Chromeo's level of engagement remains well above #TBT posturing.
    • 84 Metascore
    • 80 Critic Score
    The Serpent & the Sphere
    The album's preference for atmosphere over hooks, plus the paucity and snarling incomprehensibility of its vocals, makes it ideal for pondering whatever mystery that captures one's fancy. But it also has a clear point of view.
    • 72 Metascore
    • 80 Critic Score
    Turn Blue
    There's still a two-man garage band in there, but Auerbach and Patrick Carney are currently catering to earbuds rather than stadiums.
    • 77 Metascore
    • 80 Critic Score
    Nabuma Rubberband
    Their music now meticulous and agile, Little Dragon has matched their ambition with execution, and the result is an album that, for all of its exhaustive details and complex rhythms, rarely feels cumbersome.
    • 60 Metascore
    • 70 Critic Score
    Sheezus
    Even when the songwriting is less than revolutionary, the performance holds your attention.
    • 83 Metascore
    • 80 Critic Score
    Nikki Nack
    Rarely does an album consider life's eternal struggles in quite this way: searching for answers with its eyes wide open, and silly string in its hair.
    • 77 Metascore
    • 70 Critic Score
    I Never Learn
    Though she's largely eschewing Youth Novels's bubbly synth-pop and Wounded Rhymes's slick power ballads for simpler arrangements and derelict instrumentation, Li still manages to make the ramshackle music of I Never Learn sound grand and, perhaps more impressively, inject a kind of dark romanticism into her depictions of crippling separation.
    • 79 Metascore
    • 80 Critic Score
    Here and Nowhere Else
    It's all part of the sizable growth demonstrated on Here and Nowhere Else, which more than anything is defined by the sound of raw energy giving way to coherence and control.
    • 79 Metascore
    • 80 Critic Score
    It's Album Time
    It's Album Time is structured similarly, slowly building an argument that there's genuine talent behind the sheen of novelty, only to have Terje zigzag in the other direction, dodging the argument he would claim he wasn't even interested in making in the first place.
    • 69 Metascore
    • 70 Critic Score
    Out Among the Stars
    Out Among the Stars is a reminder of how easy Cash made it all look even when he was slumping.
    • 82 Metascore
    • 70 Critic Score
    Singles
    Though rock has always been the ideal genre for artists to explore entropy, Herring and his bandmates have somehow found a way to inject what is arguably the safest kind of music, adult pop, with their own weird brand of controlled chaos.
    • 69 Metascore
    • 70 Critic Score
    Forcefield
    Tokyo Police Club operates as a kind of derelict garage band, and their offbeat lyrical imagery and crunchy guitar-drum combinations work to enhance the album's messy, unpretentious charm.
    • 75 Metascore
    • 80 Critic Score
    Mess
    It's another welcome reversal for a band that, while keeping true to the same program of intense macabre album after album, keeps finding new ways to vary their ominous approach.
    • 80 Metascore
    • 80 Critic Score
    The Take Off and Landing of Everything
    The Take Off and Landing of Everything gives us mostly familiar surroundings, but it makes for fine company.
    • 66 Metascore
    • 80 Critic Score
    Kiss Me Once
    In terms of the number of classic, summer-ready Minogue singles on hand, Kiss Me Once is pretty much par for the course. But there's an element of that that makes it better than your typical Minogue album, in that it's not content with pleasing the people on the dance floor.
    • 70 Metascore
    • 70 Critic Score
    Mirrors the Sky
    As "Feather Tongue" definitively establishes, it's Foy's voice--hushed and mellow enough for this synth-pop era, but also stirring and dexterous enough to transcend it—that can flourish in and even transform any sonic environment or genre simulacrum.
    • 86 Metascore
    • 80 Critic Score
    Lost In the Dream
    Granduciel is clearly still drawn to his rock roots, but as the gap between him and those influences widens, it become suffused with anxiety and dread, the sort of existential ambivalence that Lost in the Dream masterfully conveys with its vast distorted spaces.
    • 82 Metascore
    • 80 Critic Score
    Piñata
    Thanks to the talents of the artists involved, the album is more than a fun glimpse at the past. These beats and rhymes stick to your ribs.
    • 77 Metascore
    • 70 Critic Score
    Abandoned City
    By allowing himself to trust his instrument and push himself to make bolder, more resonant statements, Hauschka has created the finest work of his career.
    • 78 Metascore
    • 80 Critic Score
    Atlas
    If Real Estate captured the essence of summer, and Days maintained an unmistakably autumnal aura, then Atlas, the most thematically mature of the three, could easily be classified as Real Estate's wintery opus.
    • 68 Metascore
    • 70 Critic Score
    Mastermind
    Sinking into his throne while burping out a bottomless supply of coke and cash metaphors, he thumps along like a bass drum over songs that advance in lockstep; the album often feels like the hip-hop equivalent of a commemorative march for a triumphant ruler.
    • 86 Metascore
    • 90 Critic Score
    Present Tense
    Present Tense possesses a complexity that's not so calculated, focusing on the passage of music rather than layer upon layer of sound. Its 11 synth-drenched tracks are more bare than those on Smother, but they move much more fluidly, their liquiform seduction establishing a contrast with the band's ominous lyrics.
    • 89 Metascore
    • 90 Critic Score
    St. Vincent
    Her guitar may be her primary tool for shaking up and complicating otherwise strictly defined songwriting, but Clark's voice remains the thing that defines her material, the glittering lynchpin of the glorious, ever-expanding world she's created.
    • 82 Metascore
    • 70 Critic Score
    Blank Project
    Most songs are unfettered, with demo-quality mixes, a bare minimum of instrumentation, and over-exposed live drumming. Split between improvisatory and electronically assisted, the album's 10 songs navigate a raw zone.
    • 71 Metascore
    • 80 Critic Score
    Voices In A Rented Room
    It's a fine album that reveals more about the band's humor and skill with each new listen.
    • 81 Metascore
    • 80 Critic Score
    Morning Phase
    Gorgeously rendered but still ponderous, the album boasts a quiet strength that ultimately derives from the remarkable ability of its creator to deliver his grim sobriety with vibrancy and elegance.
    • 78 Metascore
    • 80 Critic Score
    Bad Self Portraits
    Bigger, louder, and more eclectic works well on Bad Self Portraits, but smaller, quieter, and more precise was what made the band's earlier efforts so distinctive.
    • 74 Metascore
    • 70 Critic Score
    Little Red
    Little Red allows Katy the chance to be afraid of her feelings, or at least afraid of being guided by them. And that happens a lot more often and is reflected by the contradictions between the message and the music.
    • 80 Metascore
    • 70 Critic Score
    Emmaar
    With Emmaar, the band continues to construct a creative vision that remains true to the music of their native country while finding ways to incorporate more traditional North American blues elements.
    • 84 Metascore
    • 80 Critic Score
    Burn Your Fire for No Witness
    Burn Your Fire for No Witness is noisier, brasher, and more confident than its languid predecessor.
    • 75 Metascore
    • 80 Critic Score
    True Love Kills the Fairy Tale
    True Love Kills the Fairy Tale flourishes in the complex tension between the Greenes' mellifluous vocal harmonies, their jarring, amorphous lyrics, and the haunted-house dream pop in which both are encased.
    • 76 Metascore
    • 80 Critic Score
    Wonderland
    In rightly avoiding the sweeping, anthemic electro jams of compatriots like Robyn and Niki and the Dove, Berglund offers an unpretentious and hypnotic listening experience, the kind of album that allows its audience to be a member of a nameless, nebulous crowd immersing itself in pure street spectacle.
    • 62 Metascore
    • 70 Critic Score
    Too Much Information
    In the past, the absence of an edifyingly crowd-pleasing anthem like that from a Maximo Park album might have signaled a less-than-essential entry in the band's discography; in its place, however, resides a tonal consistency and musical flow not found since A Certain Trigger.
    • 67 Metascore
    • 80 Critic Score
    Dunes
    Goldsworthy has built a stratum of battered, creaky atmosphere atop Gardens & Villa's already richly layered mood.
    • 81 Metascore
    • 80 Critic Score
    Bad Debt [Reissue]
    For an album with a creation tale so bound up in contemporary history, Bad Debt is utterly ageless, like a surviving relic from time immemorial.
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