Slant Magazine's Scores

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For 3,117 reviews, this publication has graded:
  • 35% higher than the average critic
  • 3% same as the average critic
  • 62% lower than the average critic
On average, this publication grades 7.7 points lower than other critics. (0-100 point scale)
Average Music review score: 65
Highest review score: 100 Who Kill
Lowest review score: 0 Fireflies
Score distribution:
  1. Positive: 1,687 out of 3117
  2. Mixed: 1,319 out of 3117
  3. Negative: 111 out of 3117
3117 music reviews
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    • 64 Metascore
    • 20 Critic Score
    Weezer (Red Album)
    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
    Vision Valley
    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
    Playing With Fire
    This disc is just as disposable and dumb as you'd expect.
    • 64 Metascore
    • 20 Critic Score
    Peeping Tom
    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
    Lucky Old Sun
    The album proves how vapid contemporary country can be: Very. Uh-huh.
    • 59 Metascore
    • 20 Critic Score
    Stars Dance
    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
    The Bedlam In Goliath
    Sadly, this album takes sound and fury, signifying nothing, to new depths.
    • 64 Metascore
    • 20 Critic Score
    Vicissitude
    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
    Free At Last
    It's what Freeway says that continues to disappoint, and it's not for lack of subject matter.
    • 53 Metascore
    • 20 Critic Score
    Baptized
    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.
    • 73 Metascore
    • 20 Critic Score
    Ventriloquizzing
    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
    Nothing But the Beat
    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.
    • 69 Metascore
    • 10 Critic Score
    True
    No one demonstrates the artist-as-cash-machine ethos better, as the mechanical churn of commerce rings loudly on each and every track.
    • 57 Metascore
    • 10 Critic Score
    Raditude
    Raditude is a thematically vacant and sonically uninspired collection of ditties tailor-made for mainstream radio; it consistently fringes on unlistenable.
    • 46 Metascore
    • 10 Critic Score
    Cattle Callin
    Hank 3 may be one of the most creative recording artists in music today, but Cattle Callin proves that not all of his ideas are good ones.
    • 72 Metascore
    • 10 Critic Score
    Taking The Long Way
    It's not just Rubin's production choices that fail, though--it's the songwriting.
    • 51 Metascore
    • 10 Critic Score
    Listen
    Not only is none of this fresh, its fast-food vacuity is presented as proud branding.
    • 63 Metascore
    • 10 Critic Score
    The Weight's on the Wheels
    As presented, the overly peppy pop production and the homeroom poetry of a lyricist whose either trying way too hard or not nearly hard enough to be clever become mutually reinforcing aggravations, and The Weight's on the Wheels ends up as one of the most annoying records in recent memory.
    • 59 Metascore
    • 10 Critic Score
    Violence Begets Violence
    There's just no reason for intelligent rap fans to inflict this album on themselves.
    • 57 Metascore
    • 0 Critic Score
    Fireflies
    Fireflies is flat-out terrible, the end-all be-all example of how the major labels on music row have diluted the soul out of an entire genre of vital popular music.
    • 75 Metascore
    • 0 Critic Score
    We Must Become the Pitiless Censors of Ourselves
    The album is filled with garage-sale synths flooded with reverb and nary a hook to be found, sounding, at best, like an unfinished video-game score ("Hey Moon") and, at worst, like a Human League track played backward in a Walkman taped to the skull of a drowning man ("Head for the Country").
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