Slant Magazine's Scores

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For 3,121 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: 1,691 out of 3121
  2. Mixed: 1,319 out of 3121
  3. Negative: 111 out of 3121
3121 music reviews
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    • 73 Metascore
    • 70 Critic Score
    The Triad
    Pantha remains less interested in constructivist concept pieces than interlinked studies riffing on a consistent theme, in which naturalistic splendor is conveyed by the interplay between thumping dynamism and sedate tranquility.
    • 78 Metascore
    • 70 Critic Score
    Josephine
    Rather than wallow morosely, he uses death as the focal point for an expressive song cycle that takes in the whole realm of life, with darkness frequently felt but not always the dominant emotion.
    • 67 Metascore
    • 70 Critic Score
    Mockingbird
    Whether or not it works as a testament to "the feminine voice" is debatable, but Mockingbird reasserts that Moorer's is an artistic voice worth hearing.
    • 68 Metascore
    • 70 Critic Score
    The Sun & The Neon Light
    Fans can rest easy: Sun and the Neon Light is not perfect, but it's also no late-model Chemical Brothers album.
    • 80 Metascore
    • 70 Critic Score
    Heaven Knows
    The album’s satisfying and detail-rich production choices, courtesy of co-producers like Greg Kurstin and Mura Masa, achieve a tonal cohesion throughout.
    • 76 Metascore
    • 70 Critic Score
    Pollen
    The common thread connecting the album’s real and imagined romantic scenarios across its 10 tracks is escapism, whether it be the isolation of the open sea or the insular behind-the-scenes goings on of a hotel.
    • 69 Metascore
    • 70 Critic Score
    Forcefield
    Tokyo Police Club operates as a kind of derelict garage band, and their offbeat lyrical imagery and crunchy guitar-drum combinations work to enhance the album's messy, unpretentious charm.
    • 75 Metascore
    • 70 Critic Score
    Mo'Mega
    Mo' Mega keeps the bar set pretty high.
    • 79 Metascore
    • 70 Critic Score
    Night Time, My Time
    Night Time, My Time might just be the sort of gaunt, darkly painted neurosis needed to combat popular music's deluge of silly and crude self-affirmations.
    • 86 Metascore
    • 70 Critic Score
    thank u, next
    Thank U, Next is easily Grande’s most sonically consistent effort to date, even if that means some of the album’s sleek R&B tracks tend to blur together.
    • 74 Metascore
    • 70 Critic Score
    Fortress Around My Heart
    Charmingly blunt and unpolished, Fortress instantly casts Maria as a distinctive talent among her established Scandinavian contemporaries.
    • 65 Metascore
    • 70 Critic Score
    Law Of The Playground
    While the idea of artistic maturity might seem anathema to the very appeal of the Boy Least Likely To, Playground marks the pair's awkward first steps toward adulthood.
    • 84 Metascore
    • 70 Critic Score
    Electric Dirt
    The songs are new but have the worn familiarity of something pulled from storage, all the trilling organs and honky-tonk shuffles, made thinner and more poignant by the passage of time.
    • 77 Metascore
    • 70 Critic Score
    The King Is Dead
    Those tracks, which favorably recall early R.E.M. and the Replacements in both content and style, suggest the album The King Is Dead could have been had the band exercised more precise, more genre-aware editing.
    • 85 Metascore
    • 70 Critic Score
    Late Registration
    Late Registration's salvation (and, undoubtedly, Kanye's own) are when it basks in the sunshine after the rain.
    • 56 Metascore
    • 70 Critic Score
    Almost Everything I Wish I'd Said The Last Time I Saw You...
    When he calls on his rotating cast of collaborators and follows his creative impulses, Grubb makes Wakey!Wakey! a far more rewarding project than one might expect from someone associated with a show that once cast Kevin Federline in a multi-episode arc.
    • 65 Metascore
    • 70 Critic Score
    Without Feathers
    What impresses about Without Feathers is the depth and liveliness that the group brings to it.
    • 75 Metascore
    • 70 Critic Score
    Hawk
    They may be, for all intents and purposes, covers of songs that never actually existed, but they repeatedly prove just how ecstatic such influence can be.
    • 79 Metascore
    • 70 Critic Score
    I Need a New War
    With its dreamy atmosphere and loitering tempos, the album is more reliant than ever on Finn’s wordplay. ... At the same time, Finn can get too bogged down in minutiae, such as devoting an entire verse of “Holyoke” to binge-watching TV shows. But even then, the aside serves the song’s larger purpose of illustrating the anxiety-ridden narrator’s vain attempts to distract himself from the omnipresence of death.
    • 74 Metascore
    • 70 Critic Score
    I Feel Cream
    Okay, maybe age has softened Peaches a tad, but if I Feel Cream is the result, it sounds more compelling and radical than any number of new iterations of "sucking on my titties."
    • 85 Metascore
    • 70 Critic Score
    Midnights
    Folklore and Evermore felt innovative in how they rebuilt Swift’s sound from the ground up, but despite its own idiosyncratic delights, Midnights ultimately feels too indebted to her past efforts to truly push her forward. If nothing else, the album proves she’s unwilling to operate on anyone’s terms other than her own.
    • 76 Metascore
    • 70 Critic Score
    Satin Panthers
    The rest of the EP is strictly instrumental, and it's no less fun for it, whether Mohawke is serving up the type of gothic boom-bap that Young Jeezy might rap over on "Thunder Bay" or transitioning between tunes with explosions of (still mostly danceable) noise.
    • 75 Metascore
    • 70 Critic Score
    Elastic Days
    Like Zuma, Elastic Days takes a little time to warm up to, but once it’s sunk in, it’s as comfortable as an old pair of jeans.
    • 83 Metascore
    • 70 Critic Score
    Soused
    Another album which, if not exactly pleasant to listen to, is at least experimentally interesting, continuing Walker's aggressive program of abrasive sonic assaults.
    • 80 Metascore
    • 70 Critic Score
    Give the People What They Want
    Give the People What They Want is a collection of songs that not only sees the Dap-Kings reveling in a variety of musical tones, from confident, strutting anthems of independence to slow-burning, intimate ballads, but also displays Jones at her most vocally ferocious, lending a self-assured voice to the down and out.
    • 78 Metascore
    • 70 Critic Score
    Fast Paced World
    The Duhks should only continue to build upon their reputation as one of the most compelling acts on the roots scene with World, which puts to rest any doubts as to how they would carry on with their new incarnation.
    • 79 Metascore
    • 70 Critic Score
    No Geography
    Save for the wonky sequencing choice of front-loading the two most negligible songs ... No Geography could easily pass for a collection of epic B sides to some of Tom Rowlands and Ed Simons’s signature classics.
    • 78 Metascore
    • 70 Critic Score
    Better Oblivion Community Center
    The songs on Better Oblivion Community Center are contemplative rather than declarative, granting the artists a chance to approach sorrow in a cheekier manner and find reserves of hope amid the wreckage.
    • 71 Metascore
    • 70 Critic Score
    Made of Bricks
    Nash's lyrics are charming and skillful, with huge mouthfuls of narrative information crammed into unbelievably small spaces.
    • 83 Metascore
    • 70 Critic Score
    Attack On Memory
    Cloud Nothings have never sounded so sure of their abilities, and with such a stunning step forward in their cohesiveness and vision, it's easier than ever to imagine them becoming a genuinely great rock band.
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