Slant Magazine's Scores

For 2,212 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:
2,212 music reviews
    • 72 Metascore
    • 30 Critic Score
    For an album about "fun under the summer sun," You're Always on My Mind is singularly joyless.
    • 74 Metascore
    • 30 Critic Score
    With Versions, Jesus achieves something her previous albums hadn't: She's created art so unobjectionable that it attains a kind of beige obscenity.
    • 65 Metascore
    • 30 Critic Score
    Avril Lavigne is filled with similar empty life-affirming mantras and boasts of rebelliousness. Lavigne has mined these themes with success in the past, but here the exploration feels forced, as if she's trying to capture an attitude, and craft a persona, that she no longer lives.
    • 62 Metascore
    • 30 Critic Score
    Get Hurt is a shockingly misguided assemblage of over-processed hair-metal guitars, '80s adult-contemporary keyboard swill, and hilariously overblown skullduggery.
    • 70 Metascore
    • 20 Critic Score
    What All Jacked Up ultimately confirms... is that Wilson is a one-trick pony whose trick will only impress those with exceedingly low expectations.
    • 64 Metascore
    • 20 Critic Score
    The Vines ultimately come off as nothing more than a proficient Nirvana cover band, lacking a perspective of their own or a voice that really demands attention.
    • 64 Metascore
    • 20 Critic Score
    A collection of infantile, forgettable stripper anthems and not even guest spots from Rahzel or Kid Koala can keep this shit from sounding like Linkin Park.
    • 15 Metascore
    • 20 Critic Score
    This disc is just as disposable and dumb as you'd expect.
    • 52 Metascore
    • 20 Critic Score
    Whereas [debut album] Tenacious D was a brilliant parody of the blood-and-thunder metal genre, functioning as a cohesive, hilarious whole, The Pick Of Destiny is mere bong resin.
    • 63 Metascore
    • 20 Critic Score
    Unsaved by anything resembling an acceptable musical hook, Kelly's lyrics are uniformly dumb.
    • 72 Metascore
    • 20 Critic Score
    It's what Freeway says that continues to disappoint, and it's not for lack of subject matter.
    • 66 Metascore
    • 20 Critic Score
    Sadly, this album takes sound and fury, signifying nothing, to new depths.
    • 37 Metascore
    • 20 Critic Score
    Though more adventurous than 2005's "The Best Little Secrets Are Kept," the band's sophomore LP, Slick Dogs and Ponies, still rings soulless at its core.
    • 54 Metascore
    • 20 Critic Score
    He joylessly repeats all the tired tropes of Southern party rap (brand-name fetishizing, drug-trade mythologizing, stripper-bitch glorifying), and the album's best track has already been let out of the bag.
    • 64 Metascore
    • 20 Critic Score
    Weezer seems to have driven their old shtick into the ground so perfectly, it almost seems like they've purposely become tired and boring.
    • 60 Metascore
    • 20 Critic Score
    The album proves how vapid contemporary country can be: Very. Uh-huh.
    • 59 Metascore
    • 20 Critic Score
    Chris Daughtry has a real band that plays really serious songs, which are, almost without exception, really, really bad.
    • 56 Metascore
    • 20 Critic Score
    When Rise Up settles into this pro-marijuana groove, the album does begin to serve its purpose, however stunted that purpose may seem. Beyond that, there's very little to savor here, with the two emcees struggling to tender a memorable verse between them during 14 tracks spanning just under an hour.
    • 65 Metascore
    • 20 Critic Score
    Of course, the only people I could imagine getting any pleasure whatsoever from Versus's wretched collection of failed club-sex jams are those with enough bad taste to buy Raymond v. Raymond three or four times over.
    • 73 Metascore
    • 20 Critic Score
    Monahan is a fine producer when working within the framework of progressive folk and Americana, but his work on Ventriloquizzing is just a complete misfire.
    • 56 Metascore
    • 20 Critic Score
    The songs that work on The JaneDear Girls are the ones that emphasize their melodies and hooks above the actual content of the songs or the girls' performances.
    • 70 Metascore
    • 20 Critic Score
    A little bit of charisma probably wouldn't have saved Planet Pit from disaster, but it might have helped.
    • 56 Metascore
    • 20 Critic Score
    Guetta might be one of the only people given partial credit for creating a sea change in pop music who's also unquestionably the least compelling example of that style.
    • 52 Metascore
    • 20 Critic Score
    It all amounts to a great deal of bluster for bluster's sake and becomes tiresome almost instantly.
    • 60 Metascore
    • 20 Critic Score
    Strangeland sounds every bit as dated and overblown as the singles from Cher's "rock" phase.
    • 64 Metascore
    • 20 Critic Score
    At every turn, the album serves only to reinforce the fact that Chapman isn't only firmly, almost blindly stuck in the previous decade, but that his music's long-overdue expiration date is the least of its problems.
    • 59 Metascore
    • 20 Critic Score
    It boasts a harsher, edgier sound than that of her previous efforts; on every other front, it's a lazy, bloated, and occasionally offensive album that lacks any remnant of personality or creativity.
    • 61 Metascore
    • 20 Critic Score
    They're especially fond of bad movie soundtracks from the '80s, and they show it on their sophomore effort, Dynamics, by making every song sound like the non-hits off those albums.
    • 53 Metascore
    • 20 Critic Score
    It sounds like Daughtry's been listening to a lot of Train and EDM, or at least the band's manager has, because the tempos are a bit peppier than the normal plodding 80bpm post-grunge yawning we're used to, and all of it is slathered with super-slick, edge-sanding modern-pop production, including the surprisingly liberal use of Auto-Tune.
    • 72 Metascore
    • 10 Critic Score
    It's not just Rubin's production choices that fail, though--it's the songwriting.