Slant Magazine's Scores

For 2,482 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 8.1 points lower than other critics. (0-100 point scale)
Average Music review score: 64
Highest review score: 100 Ys
Lowest review score: 0 We Must Become the Pitiless Censors of Ourselves
Score distribution:
2482 music reviews
    • 85 Metascore
    • 80 Critic Score
    Despite the myriad references [Sade, Aaliyah]... it's clear Ware has found a voice of her own on Devotion.
    • 85 Metascore
    • 70 Critic Score
    I Am Not Afraid Of You And I Will Beat Your Ass is a bloated, overreaching long-player in the tradition of bloated, overreaching long-players like Sign O' The Times, Exile On Main Street, and London Calling. But it's also business as usual for Yo La Tengo.
    • 85 Metascore
    • 90 Critic Score
    Chemistry is a natural and seamless masterpiece that might never have happened but for the band's own need to thumb its nose at expectations.
    • 85 Metascore
    • 50 Critic Score
    The voices that accompany him here are by turns syrupy and overwrought, and they work less to melt the icy tenor of the singer's voice than to soften the tracks into complete mush.
    • 85 Metascore
    • 70 Critic Score
    Mirroring the Fritz Lang film's portrayal of man operating and essentially becoming a part of a machine, the Swedish band plays their instruments meticulously and repetitively.
    • 85 Metascore
    • 90 Critic Score
    It's something of a miracle, too, that he's managed to wring such beauty and profundity out of the mess of a society he sings about.
    • 85 Metascore
    • 100 Critic Score
    Ys
    The album is a precious--in every sense of the word--masterpiece.
    • 85 Metascore
    • 90 Critic Score
    A dense, challenging record, Revolution once again finds Lambert setting the benchmark for the country genre even as she begins to consider the possibilities beyond its borders.
    • 85 Metascore
    • 80 Critic Score
    Their aural magic is as evocative as ever, and with their alchemical skills, they could well invent a fifth element, or more.
    • 85 Metascore
    • 80 Critic Score
    Yet, far from a liability, Clark's bare, sedate St. Vincent persona is the highlight of Strange Mercy, reflecting all the terror, beauty, and allure of her music more effectively than any cantakerous narrator could muster.
    • 85 Metascore
    • 100 Critic Score
    Brash, insightful, wry, and, above all else, smart, Crazy Ex-Girlfriend confirms that Miranda Lambert is far more than just the latest in a long line of bad girls: She's a country music legend in the making, and the most vital artist Music Row has produced in a generation.
    • 85 Metascore
    • 90 Critic Score
    High Violet is an expertly handled balancing of the airy and the dense, and nowhere is that better exemplified than on the triumphant "England."
    • 85 Metascore
    • 90 Critic Score
    As a whole feels like a more complete and satisfying journey than either of Goldfrapp's last two albums, progressing confidently from crushing guitar-driven boogie to weightless space pop.
    • 85 Metascore
    • 70 Critic Score
    What makes the album significant is the fact that its creator is a bona fide superstar who, apparently, seems to care more about following her creative bliss than scoring easy hits. And it takes her (and us) to some mighty weird and exhilarating places.
    • 85 Metascore
    • 60 Critic Score
    If this is truly the end for Scarface then Emeritus is a backdoor exit, an unassuming, professional album that quietly gets the job done.
    • 85 Metascore
    • 70 Critic Score
    There are times when the garish rehash feels a tad too on the nose.
    • 84 Metascore
    • 80 Critic Score
    Not all of Kaputt is so dynamic, and many of the songs require a few listens before they begin to assert their individual identities. But Kaputt does contain riches to rival the previous highpoints in the Destroyer canon.
    • 84 Metascore
    • 80 Critic Score
    Mann's best work has always lingered on such private reverie, and Mental Illness is one of her most ravishing and affecting hymns to solitude.
    • 84 Metascore
    • 50 Critic Score
    No matter how sublime Rossen's voice may be, Silent Hour/Golden Mile simply can't transcend the limitations of its origin as a collection of incomplete Grizzly Bear B-sides.
    • 84 Metascore
    • 80 Critic Score
    If “maturity” isn't quite the word for Flower Boy, however, the album is nevertheless a significant milestone. This is easily Tyler's most emotionally risky, and rewarding, work to date--and, in its own way, more transgressive than anything from Odd Future's punk-rap peak.
    • 84 Metascore
    • 70 Critic Score
    The songs are new but have the worn familiarity of something pulled from storage, all the trilling organs and honky-tonk shuffles, made thinner and more poignant by the passage of time.
    • 84 Metascore
    • 80 Critic Score
    Much like Raekwon on his 2009 landmark, Ghostface manages to steal the show despite the esteemed roll of guest spots. His rapid-fire delivery and blitz of sassy metaphors set a high-octane pace.
    • 84 Metascore
    • 70 Critic Score
    As good as this record is (and it is often very good), LCD Soundsystem can do, and has done, much better.
    • 84 Metascore
    • 100 Critic Score
    Even though it's as ambitious an exercise in freeform genre-splicing and pure, amp-blowing volume as has been attempted in the past few years, it's always at least as fun as it is smart, taking the three great pillars of guilty-pleasure music (deafening arena-rock swagger, sugary pop hooks, and delirious dance beats) and rolling them together into a singularly appealing cacophony.
    • 84 Metascore
    • 60 Critic Score
    So while Trouble Will Find Me remains well crafted and satisfying, there's something inherently stultifying about it as well.
    • 84 Metascore
    • 80 Critic Score
    None of this would work if the songs weren't actually good, but they're frequently brilliant.
    • 84 Metascore
    • 70 Critic Score
    Sugar Mountain is less impressive than Massey Hall but it offers more insight, catching Young at a peak of undiscovered exuberance, sharing loose stories between songs, strumming aimlessly and joking with the crowd.
    • 84 Metascore
    • 50 Critic Score
    Thus, when not overextending the disappointing, unfinished musical projects on Fall Be Kind's, the Collective are busy beating their promising ideas into monotony.
    • 84 Metascore
    • 80 Critic Score
    An intimate existential chronicle of imprisonment and liberation, its visceral, blood-smeared intensity works off a steady heartbeat of acute artistic ferment, the roiling passion underlying Hval's powerful declaration of self.
    • 84 Metascore
    • 40 Critic Score
    Feels fails to come together as a coherent whole.