Slant Magazine's Scores

For 2,191 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
Score distribution:
2,191 music reviews
    • 78 Metascore
    • 30 Critic Score
    The collaborative efforts of tracks like "Bitch Please II" and "Under the Influence" make Eminem seem like an ornamental prop in Dr. Dre's ever-growing hip-hop dynasty.
    • 57 Metascore
    • 30 Critic Score
    So off-putting as to alienate the band's fanbase.
    • 61 Metascore
    • 30 Critic Score
    "Get Out" and "Am I Reaching You Now" strive for massive arena-rock grandeur, and, while Train is slick and professional enough a band to pull that off, what prevents the album from working even as marginally as X&Y and certainly not as well as The Constantines' Tournament Of Hearts is the banality of the songs' lyrics.
    • 54 Metascore
    • 30 Critic Score
    A reminder that "adult" pop can be every bit as vapid and formulaic as its teenage counterparts.
    • 69 Metascore
    • 30 Critic Score
    Less a rebound from the indulgent for-friends-and-family-only nightmare of Rehearsing My Choir than a lateral side-step, Bitter Tea sounds like a desperate plea to be labeled as "clever."
    • 59 Metascore
    • 30 Critic Score
    The only personality displayed on So Amazin' is that of her contemporaries and predecessors.
    • 73 Metascore
    • 30 Critic Score
    Getting Somewhere is the first of her albums that not even her vocals can save.
    • 50 Metascore
    • 30 Critic Score
    It's sad to see a once-promising band reduced to dribbling out a mewling, half-baked effort such as this, an album with no redeeming value beyond soundtracking your next visit to Supercuts.
    • 78 Metascore
    • 30 Critic Score
    Happy Hollow is far too grouchy to be taken seriously.
    • 62 Metascore
    • 30 Critic Score
    You can practically hear the energy draining away as the album progresses and one song slides into another, indistinguishable by either melody or lyric.
    • 67 Metascore
    • 30 Critic Score
    An enormous disappointment.
    • 52 Metascore
    • 30 Critic Score
    The results are disastrous.
    • 73 Metascore
    • 30 Critic Score
    As a country album, a pop album, or something in between, Love, Pain, & The Whole Thing is simply bad.
    • 76 Metascore
    • 30 Critic Score
    Maybe pastiche is inevitable, even in the Japanese avant garde scene, but can't it at least be a little more fun?
    • 65 Metascore
    • 30 Critic Score
    These songs are rendered so faithfully they may as well be karaoke.
    • 58 Metascore
    • 30 Critic Score
    50 doesn't fare any better on the softer side: 'Amusement Park' proves he's one of the worst lyricists alive.... It's not just the metaphors, though, it's the execution.
    • 78 Metascore
    • 30 Critic Score
    It is their failure to do little beyond noodle energetically and evoke the work of others that dooms Parc Avenue to mediocrity.
    • 75 Metascore
    • 30 Critic Score
    Presumably the climax of the whole stumbling, stoned expedition arrives about halfway through the latter half, when some synthy Gregorian chant-style vocals trudge into the mix for a few seconds, but by the time the album reaches its dingy conclusion and fades back into feedback loops and distant alien static noises, Oneida seems to have inadvertently demonstrated only one thing: that, dude, having, like, rad conceptual ideas and high aspirations does not a good album make.
    • 55 Metascore
    • 30 Critic Score
    Look What You Made Me will burn brightly for a few more weeks on the strength of its club readiness, but with Berg's flaccid delivery, misguided confidence, and no desire to shake up well-worn subject matter, the album should fade into oblivion like so many other disposable pop-rap LPs.
    • 76 Metascore
    • 30 Critic Score
    Their new album, Shall Noise Upon, is intellectually thinner, more musically pedantic, and not quite as tongue-in-cheek.
    • 69 Metascore
    • 30 Critic Score
    Even a guest verse from Busta Rhymes can't breathe any life into this copy-and-paste mess.
    • 58 Metascore
    • 30 Critic Score
    Curiosity and whatever remains of her pop fanbase will likely give Do You Know a strong start, but it's hard to imagine that it will sustain any momentum or help Simpson build a reputation as a credible artist in Nashville.
    • 52 Metascore
    • 30 Critic Score
    The rest of the band, a soulless cooperative between Sweden and the U.K., does their best to back him up, issuing rote, lifeless rock tracks that build appropriately to fist-pumping peaks, but it's Borrell's vocals that press this album past mediocrity into embarrassing territory.
    • 63 Metascore
    • 30 Critic Score
    Without a distinguishing voice or idea, Realist feels like the mold from which better rap albums are made, a blank form woefully void of substance or flavor.
    • 72 Metascore
    • 30 Critic Score
    Yet despite O'Brien's anemic production, much of the blame for Working On a Dream undoubtedly lies with Springsteen himself; drained of his angry energy, he dribbles out material that's for the most part goofy and painfully bloodless.
    • 43 Metascore
    • 30 Critic Score
    Were the central conceit not so half-assed and Lee's lyrics not so shallow, Venus might qualify as actively misogynist in a way that could be interesting to engage and dissect. As is, the album is simple to an annoying, tiresome degree.
    • 57 Metascore
    • 30 Critic Score
    Listeners are subjected to nothing more than a glorified boy band trying desperately to recapture a second wind.
    • 44 Metascore
    • 30 Critic Score
    Some singles may work their way loose, but as a whole the album will is too long and monotonous; the affected style of Paul's voice, fine for the occasional single, becomes a grating trial over 21 songs.
    • 70 Metascore
    • 30 Critic Score
    Too much of Boy is the bad kind of theatrical, less an album than an aural assault.
    • 67 Metascore
    • 30 Critic Score
    Most of the songs are just complete misfires.