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
    • 76 Metascore
    • 90 Critic Score
    One of the stronger debuts of 2006.
    • 72 Metascore
    • 90 Critic Score
    Punchy, ragged, and frenetic, Waterloo To Anywhere surges forward, not-so-subtly aping The Strokes, The Clash, and The Ramones as well as delivering that precise buzz that can only be felt by the young, drunk, and excited.
    • 77 Metascore
    • 90 Critic Score
    While the songs are undeniably beautiful and even fun, the music provides a vital balance to the album's substantial thematic heft, and it's that combination that makes Let's Get Out Of This Country one of the year's best pop albums.
    • 82 Metascore
    • 90 Critic Score
    Rather Ripped is probably one of the best records in Sonic Youth's catalog, and definitely one of the best albums of 2006.
    • 75 Metascore
    • 90 Critic Score
    It would be unthinkable to imagine a more pleasurable listen coming along in 2006.
    • 76 Metascore
    • 90 Critic Score
    The more interesting discussion to be had about The Avalanche is whether it says more about Sufjan Stevens or everyone else that a collection of even his second-tier material ranks among the most superior releases of the year.
    • 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.
    • 89 Metascore
    • 90 Critic Score
    Might be the most upbeat feel-bad album of 2006.
    • 70 Metascore
    • 90 Critic Score
    The Lemonheads is nearly as great as the band's masterpiece, It's A Shame About Ray, and far more dependable than the runner-up Come On Feel The Lemonheads. And it may be more fun than either.
    • 71 Metascore
    • 90 Critic Score
    Ta-Dah isn't an unimpeachable triumph from front to back, but it's a hell of a good showing.
    • 83 Metascore
    • 90 Critic Score
    Food & Liquor is one of the year's fresher efforts and future classics.
    • 87 Metascore
    • 90 Critic Score
    An astonishing piece of work.
    • 52 Metascore
    • 90 Critic Score
    Cunniff has never sounded more joyful as a singer or writer as she does here.
    • 82 Metascore
    • 90 Critic Score
    The Magic Position is a euphoric listening experience not even being a critic can spoil.
    • 84 Metascore
    • 90 Critic Score
    The tightness of Thompson's compositions grounds the explosive, whimsical meandering of his improvs; Sweet Warrior, and "Guns Are The Tongues" in particular, captures that glory as well as anything else from this century.
    • 77 Metascore
    • 90 Critic Score
    Every fade-in and chord change on Proof of Youth is perfectly calibrated to make for seamless song-to-song transitions and for an album that seems to end entirely too quickly.
    • 77 Metascore
    • 90 Critic Score
    Even in its rare maudlin and melodramatic moments, the album is saved its many precise, stainless sounds: Henry's compassionate, reverb-shaken voice, Bill Frisell's excellent fretwork, a bewitched pump organ, a snare hit that always echoes a bit too long.
    • 79 Metascore
    • 90 Critic Score
    Scene of the Crime is as comprehensive and as thorough an artistic declaration of self as any in recent memory.
    • 64 Metascore
    • 90 Critic Score
    Some People is stuffed to the rafters with love songs but they're never precious or cloying, even when the arrangements soar to rousing string/brass/choir-laden climaxes, or when the lyrics are comprised of little more than a string of clich├ęs .
    • 78 Metascore
    • 90 Critic Score
    Hot Chip boldly expand and louden up their sound significantly here, while admirably retaining full command of the forms they've already mastered.
    • 72 Metascore
    • 90 Critic Score
    These songs don't sound like love songs because they aren't love songs. That the Raveonettes understand why that's an important distinction makes Lust Lust Lust a sleazy pop masterpiece.
    • 83 Metascore
    • 90 Critic Score
    Badu's spare, pointillist lyrics are almost constantly folded deep within dense, heavy arrangements
    • 73 Metascore
    • 90 Critic Score
    Devotion includes all of the same essential ingredients as its predecessor, but a ratcheting-up of intensity makes this album shine even brighter.
    • 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.
    • 85 Metascore
    • 90 Critic Score
    There's enough on Third (spaghetti-western guitars, organs, barking effects) to sate those who pine for the late '90s, but gone is the turntable scratching, ostensibly deemed too much of a relic from that decade; in its place are more electronic flourishes, like the cyclic synth-bass loop that softens the second half of "The Rip," a song which is proof positive that Goldfrapp would never exist without Portishead.
    • 72 Metascore
    • 90 Critic Score
    Jim
    This is saying something, because every single song on Jim will battle for space in the part of your brain that gets hooked.
    • 80 Metascore
    • 90 Critic Score
    Jim Noir works brilliantly on an escapist level, even though it rewards more active listening.
    • 71 Metascore
    • 90 Critic Score
    As a fully realized, bombastically confident artistic statement, Arm's Way is Nick Thorburn's "69 Love Songs." Hereafter we will only seek to understand him according to his own pop- and violence-addled logic, mapped perfectly on this thrilling album.
    • 70 Metascore
    • 90 Critic Score
    In many ways, Wilson updates his style, while still paying tribute to the things he loves.
    • 78 Metascore
    • 90 Critic Score
    Loveless has offered another unqualified masterpiece with Sleepless Nights and reasserted her place as one of the premier artists not just of the country genre but of contemporary popular music.