Slant Magazine's Scores

For 2,148 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 8.4 points lower than other critics. (0-100 point scale)
Average Music review score: 63
Highest review score: 100 Love
Lowest review score: 0 We Must Become the Pitiless Censors of Ourselves
Score distribution:
2,148 music reviews
    • 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
    • 80 Critic Score
    London is by far Cohen's most generous live release, and if it tilts too heavily to the last two decades of his career, it compensates by including virtually all of the classics from the first three.
    • 91 Metascore
    • 80 Critic Score
    Where Good Kid, M.A.A.D City really succeeds is in its powerful emotional core.
    • 91 Metascore
    • 80 Critic Score
    As is, she's turned out a landmark debut that contains a full LP's worth of excellent songs and almost no bad ones, and she's done it entirely on her own highly idiosyncratic terms.
    • 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.
    • 90 Metascore
    • 70 Critic Score
    Though the new booklet of liner notes includes an interview in which Michael admits that he was fully aware of and exploring his own identity as a gay man, the album itself now clearly hides more than it reveals.
    • 90 Metascore
    • 80 Critic Score
    Freed from the aesthetic demands of an odd-couple partnership, Big Boi (Antwan Patton) improves on the standard set with 2003's Speakerboxxx, an ostensibly solo work crystallized inside a double-album set, delivering a record that's rigidly focused and almost uniformly strong.
    • 90 Metascore
    • 80 Critic Score
    Machine music this unrelentingly intimate is worth the attention it requires.
    • 90 Metascore
    • 80 Critic Score
    Z
    Dialing down the reverb and allowing more wide-ranging influences to show through, My Morning Jacket fashions a messy, transitory record that's head-over-heels giddy, curiously experimental, and patently weird in equal measure.
    • 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
    • 80 Critic Score
    For the rest of its admittedly brief running time, Like a Rose is a keenly observed and rewarding album that's a standout in what, only a few months in, has already been an uncommonly strong year for country music.
    • 89 Metascore
    • 90 Critic Score
    Might be the most upbeat feel-bad album of 2006.
    • 89 Metascore
    • 80 Critic Score
    The Idler Wheel captures what's made Apple one of the defining artists of her generation: a persona that's reflected changing views of private versus public spheres. The results have often been misunderstood, but Apple has continued to present herself as someone who refuses to resort to niceties of tact or self-censorship when she engages with her audience.
    • 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
    • 80 Critic Score
    A raucous self-celebration, full of scrappy beat poetry leavened with dark-edged Americana influences, Nelson Algren-style urban malaise, and off-kilter, strangely instrumentalized songs.
    • 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
    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
    • 70 Critic Score
    If it's not as immediately galvanizing as, say, Rising Down, it lingers.
    • 88 Metascore
    • 70 Critic Score
    In Rainbows with the all-too-familiar stiff, programmed beats and strategically placed effects of '15 Steps,' but soon more organic elements (spare bass and leftfield guitar--literally, coming out of the left speaker) take center stage, rendering it one of the band's best hybrids in years.
    • 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
    • 70 Critic Score
    Like every hip-hop album (even the great ones), Kanye West's The College Dropout is marred by too many guest artists, too many interludes, and just too many songs period. (I challenge every hip-hop artist working today to record just one album with 12 tracks or less-no skits, no guests, no filler.)
    • 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
    • 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.