Slant Magazine's Scores

For 2,228 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:
2,228 music reviews
    • 97 Metascore
    • 90 Critic Score
    Tidy this album isn't, but like There's a Riot Goin' On or the distended jams of One Nation Under a Groove, the uncompromising messiness is the point. The focused and fervent anger, politics, cosmic knowledge, and above all unshakable self-doubt is the point too.
    • 95 Metascore
    • 100 Critic Score
    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.
    • 94 Metascore
    • 100 Critic Score
    The effort to canonize My Beautiful Dark Twisted Fantasy as one of hip-hop's all-time high points is already underway, and I'm confident that Kanye's new album can weather the backlash that all potential classics must confront.
    • 93 Metascore
    • 90 Critic Score
    Life's Rich Pageant serves as both a guidepost for how R.E.M. moved in an arena-sized direction and as another extraordinary album in the band's uninterrupted run of true greatness that spanned between Murmur and Automatic for the People.
    • 93 Metascore
    • 90 Critic Score
    Reading is a far cry from pop-chart fodder. And while the jarring howl of Cobain's Fender and his gravelly delivery may alienate the more nonchalant corners of their fanbase, these ferocious renditions will be a godsend to the dyed-in-the-wool Nirvana following.
    • 92 Metascore
    • 100 Critic Score
    Each orphan stands proudly on its own as the vestige of an old idea or a forgotten path—proving that even Waits's missteps still manage to point in the right direction.
    • 92 Metascore
    • 90 Critic Score
    Channel Orange is so textured, complex, and mature that Ocean's recent coming out feels like a footnote, rather than the entire story. It's a revelation that only further colors the tales of longing and disappointment found on this impressive album.
    • 91 Metascore
    • 90 Critic Score
    If The Age of Adz harnessed Stevens's limpid melodies to crashing electronica, Carrie & Lowell finds that electronic experimentation sublimated, emerging primarily in the album's timing, which, like a click track, is more precise and mechanical than anything on Stevens's purely folk efforts.
    • 90 Metascore
    • 100 Critic Score
    From its framing gimmick and its anti-folk folk songwriting to its he-has-to-be-kidding song titles and its show-offy instrumentation, Illinois should reduce to a simple stunt performance. That it's pop-art of the highest caliber, instead, cements Stevens as one of the most vital voices in music today.
    • 90 Metascore
    • 90 Critic Score
    Looks Like Rain, 'Frisco Mabel Joy, and Heaven Help the Child are still fascinating documents--not quite Nashville, not quite pop, not exactly experimental. Newbury literally created his own artistic place that's simultaneously familiar and unclassifiable.
    • 89 Metascore
    • 90 Critic Score
    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.
    • 89 Metascore
    • 100 Critic Score
    RTJ2 is the rare sequel that bests the beloved original in almost every facet.
    • 89 Metascore
    • 90 Critic Score
    Might be the most upbeat feel-bad album of 2006.
    • 89 Metascore
    • 100 Critic Score
    Soulful and almost structurally flawless (it's the most minor of complaints that the middle run of songs are all about a half-minute too long), Merriweather finds one of the most talented, most creative pop bands finally and gloriously figuring it all out.
    • 88 Metascore
    • 90 Critic Score
    Fundamentally, though, the album is a wistful and occasionally melancholic one that is as consistently captivating in its lyrical content as it is wonderfully dark and eerily melodic in its composition and production.
    • 88 Metascore
    • 100 Critic Score
    TV on the Radio have finally made an album that someone other than hyper-analytical music critics might actually enjoy.
    • 88 Metascore
    • 90 Critic Score
    For an album that deals in low stakes, Sometimes I Sit and Think finds Barnett hitting some incredible highs. Without sounding labored, she creates an impeccably honest world rife with humor, self-deprecation, and heartbreak.
    • 88 Metascore
    • 90 Critic Score
    TV On The Radio do more than keep pace with their Shortlist Prize-winning Desperate Youth, Blood Thirsty Babes; they enhance nearly every aspect of their debut, creating an album that is uniquely theirs in the modern scene.
    • 88 Metascore
    • 90 Critic Score
    He's a storyteller with a literary knack for using detail and narrative to draw complex, relatable characters, and his storytelling finesse has never been more evident than it is here.
    • 88 Metascore
    • 100 Critic Score
    The songs from the Mellon Collie sessions speak not only to the quality of that abundance, but also to the Smashing Pumpkins' status as some of the most creative and successful purveyors of sensitive but cerebral art rock.
    • 87 Metascore
    • 90 Critic Score
    A few twists and turns shy of perfection, m b v is the innovation and sonic warmth of My Bloody Valentine rekindled and made anew.
    • 87 Metascore
    • 90 Critic Score
    Dig!!! Lazarus Dig!!! is ultimately a rock record more than it is an ideas record, but on both counts the Seeds bring it like a band half their age.
    • 87 Metascore
    • 90 Critic Score
    It's a rare fulfillment of outsized ambition and a crystallization of Tillman's inimitable narrative verve, however unreliable his narrator may be.
    • 87 Metascore
    • 90 Critic Score
    xx
    It's a perfectly executed ending for an album whose understated pleasures will surely amount to one of the year's most treasured releases.
    • 87 Metascore
    • 90 Critic Score
    Three years later, they've given us The Suburbs, a stunningly accomplished album about embattled, often embittered, adulthood by a band that continues to mythologize childhood even as it moves decisively into artistic maturity.
    • 87 Metascore
    • 90 Critic Score
    An astonishing piece of work.
    • 86 Metascore
    • 90 Critic Score
    Let England Shake borrows precepts from all over the singer's canon, specifically extrapolating the piano-based concepts of White Chalk into louder, fuller renderings.
    • 86 Metascore
    • 100 Critic Score
    A tremendous leap forward from Tune-Yards' previous efforts, w h o k i l l proves that Garbus isn't just a brainy artiste with a killer voice, but an event, someone to take notice of, a new center of gravity in the musical underground.
    • 86 Metascore
    • 90 Critic Score
    For its cohesive tone and the ease with which it plumbs the darkest recesses of Marling's consciousness, Once I Was an Eagle is close to a masterpiece, a heavenly composition with just enough hell to keep things from feeling too familiar.
    • 86 Metascore
    • 90 Critic Score
    It's so overwhelmingly happy and thrilling a musical statement that it would justify even a few more exclamation points.