Paste Magazine's Scores

For 4,067 reviews, this publication has graded:
  • 67% higher than the average critic
  • 3% same as the average critic
  • 30% lower than the average critic
On average, this publication grades 3 points higher than other critics. (0-100 point scale)
Average Music review score: 76
Score distribution:
4067 music reviews
    • 67 Metascore
    • 60 Critic Score
    Simplicity is king, as a relentlessly jaunty onslaught of jangle-pop hurtles ever onwards. [May 2007, p.96]
    • Paste Magazine
    • 86 Metascore
    • 60 Critic Score
    Here, most gestures remain a bit too consciously panoramic—elegant enough for comfort but often not chancy enough to be breathtaking.
    • 61 Metascore
    • 60 Critic Score
    At times convoluted, Solarized can be a bit of a puzzle, but there are precious few pieces missing from this set. [#14, p.115]
    • Paste Magazine
    • 79 Metascore
    • 60 Critic Score
    Benson doesn't win any points for innovation, but his deft musicianship and confident vocal presence are sure to please those who never tire of a good tune. [Apr/May 2005, p.137]
    • Paste Magazine
    • 72 Metascore
    • 60 Critic Score
    Another nice-enough album of sweetly sighing chamber pop that marks yet another incremental step forward. [Feb/Mar 2006, p.109]
    • Paste Magazine
    • 64 Metascore
    • 60 Critic Score
    While all members sound terrific behind the microphone, particularly when the harmonies are at their thickest, Love's lead turns on the god-awful "Daybreak Over the Ocean" and "Beaches in Mind" are excruciatingly over-played in their winky retro-ness and, quite frankly, an embarrassment.
    • 74 Metascore
    • 60 Critic Score
    The great thing about Weller at this point is that he'll shuffle the deck every other song and often (if not always) come up with a face card. [Feb/Mar 2006, p.103]
    • Paste Magazine
    • 63 Metascore
    • 60 Critic Score
    All in all, Farmer's Daughter is better than you might expect, which isn't to say it's great. Too many tracks aim straight for the middle.
    • 63 Metascore
    • 60 Critic Score
    There's clarity visible beneath the waterline, sharp lyrics and even some hummable choruses. [Oct/Nov 2005, p.141]
    • Paste Magazine
    • 68 Metascore
    • 60 Critic Score
    A lot of the miffed disappointment could come from the fact that Butler pulled the rug out from under his solidified, circa-2008 sound, but if nothing else the new incarnation is a lot harder to fall in love wit
    • 80 Metascore
    • 60 Critic Score
    Some of Brad Albetta's production veers toward generic pop and threatens to bury both Wainwright's distinctive voice and her lyrics. [Apr/May 2005, p.131]
    • Paste Magazine
    • 70 Metascore
    • 60 Critic Score
    Give Adem his props for chancing a foray into the cover album field, a move which always carries its risks. But Takes simply doesn’t warrant much attention, no matter how much its material means to its creator.
    • 68 Metascore
    • 60 Critic Score
    This diverse album's eerie ambience and astute songwriting more than compensate for its periodic uneventfulness. [Oct/Nov 2005, p.145]
    • Paste Magazine
    • 67 Metascore
    • 60 Critic Score
    The album relies on a stark, tribal minimalism that sounds as if it was recorded several decades ago. [Dec 2006, p.93]
    • Paste Magazine
    • 68 Metascore
    • 60 Critic Score
    The songs are stronger than ever. [Apr/May 2005, p.139]
    • Paste Magazine
    • 70 Metascore
    • 60 Critic Score
    The band presently possesses more 'tude than tunes. [Nov 2006, p.81]
    • Paste Magazine
    • 72 Metascore
    • 60 Critic Score
    Visitations is a return to Internal Wrangler's more straightforward form. It's not as revelatory the second time around, but it plays to Clinic's main strength. [Feb 2007, p.57]
    • Paste Magazine
    • 70 Metascore
    • 60 Critic Score
    O
    Now mature pop songwriters, the Omaha quintet sounds more like a conventional band on O, favoring rousing sing-along choruses, richly layered pianos and trumpets, and even standard drum kits.
    • 71 Metascore
    • 60 Critic Score
    Unfortunately songs that aren't immediately danceable... tend to dull the excitement. [Dec 2006, p.94]
    • Paste Magazine
    • 71 Metascore
    • 60 Critic Score
    Little is bad, but little is memorable or exciting or even interesting.
    • 73 Metascore
    • 60 Critic Score
    Abrasive, apocalyptic rock. [Apr/May 2006, p.105]
    • Paste Magazine
    • 75 Metascore
    • 60 Critic Score
    This should go down in Mountain Goats lore as "The Quiet Album." [Sep 2006, p.82]
    • Paste Magazine
    • 78 Metascore
    • 60 Critic Score
    On The Haunted Man, Khan continues to pursue a similar approach to combining ambition and concision, but, unfortunately, the result is a disappointingly tepid album.
    • 83 Metascore
    • 60 Critic Score
    Andorra belongs on a hip continuum but something about it still feels slightly cold--it's a druggy album that's too precise to be made with drugs, a lush album that’s too filigreed to be emotional.
    • 76 Metascore
    • 60 Critic Score
    All of Tin Can's shifting tempos make you feel like you're getting a new song each time, but really, you've heard it all before.
    • 65 Metascore
    • 60 Critic Score
    Konk is a bit too glossy for its own good, with neatly distorted guitars, swooning multi-tracked harmonies and perfectly manicured choruses working against the energy inherent in the performances.
    • 67 Metascore
    • 60 Critic Score
    Campbell's particular sense of catchy pop melody is a nightlight in the darkness. [#14, p.111]
    • Paste Magazine
    • 85 Metascore
    • 60 Critic Score
    A preciously solemn soundtrack for blustery days. [Dec 2005, p.124]
    • Paste Magazine
    • 80 Metascore
    • 60 Critic Score
    Hitchcock returns to his trademark: arpeggiated guitars swirling around hyperactive basslines with whimsical lyrics cloaked in harmony that turn dark without warning. [Oct 2006, p.76]
    • Paste Magazine
    • 65 Metascore
    • 60 Critic Score
    In [some] songs, Mellencamp comes across as Toby Keith's benevolent doppelganger: a good ol' boy who'd rather forgive someone's sorry ass than put a boot in it. [Mar 2007, p.68]
    • Paste Magazine