Slant Magazine's Scores

For 2,468 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 Merriweather Post Pavilion
Lowest review score: 0 Fireflies
Score distribution:
2468 music reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 52 Metascore
    • 30 Critic Score
    Though its style alone makes it a sure bet to be hailed as progressive by those who only like country music that doesn't sound a damn thing like country music, and just as sure to be reviled by country music purists, the real problems with the album are with its failures of execution and its inexplicable aesthetic choices.
    • 60 Metascore
    • 30 Critic Score
    In the past, the trio has been able to elevate their unremarkable songwriting with spirited performances, but that isn't the case on Own the Night
    • 54 Metascore
    • 30 Critic Score
    Just about the only thing Ke$ha makes convincing on Animal is that the current crop of party girls are every bit as soulless as they let on.
    • 52 Metascore
    • 30 Critic Score
    The results are disastrous.
    • 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.
    • 59 Metascore
    • 20 Critic Score
    Chris Daughtry has a real band that plays really serious songs, which are, almost without exception, really, really bad.
    • 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.
    • 52 Metascore
    • 20 Critic Score
    It all amounts to a great deal of bluster for bluster's sake and becomes tiresome almost instantly.
    • 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.
    • 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.
    • 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.
    • 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.
    • 63 Metascore
    • 20 Critic Score
    Unsaved by anything resembling an acceptable musical hook, Kelly's lyrics are uniformly dumb.
    • 60 Metascore
    • 20 Critic Score
    Strangeland sounds every bit as dated and overblown as the singles from Cher's "rock" phase.
    • 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.
    • 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
    Weezer seems to have driven their old shtick into the ground so perfectly, it almost seems like they've purposely become tired and boring.
    • 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.
    • 15 Metascore
    • 20 Critic Score
    This disc is just as disposable and dumb as you'd expect.
    • 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.
    • 60 Metascore
    • 20 Critic Score
    The album proves how vapid contemporary country can be: Very. Uh-huh.
    • 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.
    • 66 Metascore
    • 20 Critic Score
    Sadly, this album takes sound and fury, signifying nothing, to new depths.
    • 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.
    • 72 Metascore
    • 20 Critic Score
    It's what Freeway says that continues to disappoint, and it's not for lack of subject matter.