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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    • 78 Metascore
    • 30 Critic Score
    The Marshall Mathers LP
    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.
    • 61 Metascore
    • 30 Critic Score
    Break the Spell
    That lack of a distinctive style or voice also means that Daughtry isn't pulling focus from the simple and effective construction of their songs, which is pretty much the only thing they do well.
    • 59 Metascore
    • 10 Critic Score
    Violence Begets Violence
    There's just no reason for intelligent rap fans to inflict this album on themselves.
    • 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.
    • 60 Metascore
    • 30 Critic Score
    Own the Night
    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
    • 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.
    • 72 Metascore
    • 30 Critic Score
    All of You
    For the most part, All of You is virtually indistinguishable from Caillat's previous work, though the appearance of Common on "Favorite Song" does threaten to disrupt business as usual.
    • 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").
    • 70 Metascore
    • 20 Critic Score
    Planet Pit
    A little bit of charisma probably wouldn't have saved Planet Pit from disaster, but it might have helped.
    • 68 Metascore
    • 30 Critic Score
    Ukulele Songs
    The slapdash nature of these 16 (!) songs doesn't make them feel visceral or honest (which was clearly the artist's intention), but haphazard and disposable.
    • 61 Metascore
    • 30 Critic Score
    Destroyed
    The motion is uniform, the form is monotonous, the experience disquieting but benign. Destroyed is more distracted than coolly distanced, a satellite unmoored by Ground Control.
    • 62 Metascore
    • 30 Critic Score
    In Your Dreams
    In Your Dreams indulges in some of Nicks's worst tendencies as a songwriter and is slathered in chintzy, dated production values.
    • 66 Metascore
    • 30 Critic Score
    Raven in the Grave
    The Raveonettes have always made use of heavy reverb on their albums, but the overall impact is that Raven in the Grave just sounds sloppy.
    • 62 Metascore
    • 30 Critic Score
    Vices & Virtues
    If you were expecting some kind of creative transformation from the shakeup, this new album may be something of a disappointment, as Urie and drummer Spencer Smith return to the skittish, bombastic pop-rock of their debut.
    • 56 Metascore
    • 20 Critic Score
    the JaneDear girls
    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.
    • 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.
    • 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
    • 30 Critic Score
    Endlessly
    Two years ago, Duffy had us begging her for mercy, but after 10 tracks of Endlessly, I was just begging her to stop.
    • 63 Metascore
    • 30 Critic Score
    Born Free
    It's not so much the shift in style that hampers Born Free, but rather the trite subject matter and gormless storytelling that Rock so keenly adopts.
    • 52 Metascore
    • 30 Critic Score
    The Incredible Machine
    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.
    • 70 Metascore
    • 30 Critic Score
    Back to Me
    She makes a genuine effort here, but not even the legendary R&B singers to whom she has been compared could elevate this material.
    • 52 Metascore
    • 30 Critic Score
    Teenage Dream
    The remainder of Teenage Dream is a raunchy pop nightmare, with A-list producers lining up to churn out some of the worst work of their careers.
    • 65 Metascore
    • 20 Critic Score
    Versus
    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.
    • 72 Metascore
    • 30 Critic Score
    It'll Be Better
    It's short, boring, and occasionally aggravating, recalling the flatness of acts like Maroon 5 and John Mayer while never coming close to their likeability, and when you're being rocked off the stage by Adam Levine, it's not a good sign.
    • 63 Metascore
    • 30 Critic Score
    Recovery
    Much of Recovery centers around such themes as romantic devotion and anxiety, but the resulting material rings unsurprisingly hollow.
    • 56 Metascore
    • 20 Critic Score
    Rise Up
    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.
    • 71 Metascore
    • 30 Critic Score
    Year Of The Black Rainbow
    There's no trace of Coheed's oddball eclecticism here, or of their dynamic pop sensibilities; instead the emotionally and tonally monochrome Black Rainbow gives the impression of a typically humorless metal act.
    • 57 Metascore
    • 30 Critic Score
    Raymond v. Raymond
    The album is consistently uninspired, with each song showcasing an incredibly gifted performer grown wearyingly complacent.
    • 37 Metascore
    • 30 Critic Score
    Rebirth
    The result is not a rock record as much as a total misperception of what makes a rock record. The base elements are all here (the sex and sleaze and guitar solos), but they're delivered in such a flat, awkward way that they feel interpreted by an alien.
    • 72 Metascore
    • 30 Critic Score
    Realism
    Here there are few bright spots and barely any prevailing concept to blame that fact on, leaving Realism as a bad album with nothing but the band behind it to blame.
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