Paste Magazine's Scores

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For 4,071 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
Highest review score: 100 Sgt. Pepper's Lonely Hearts Club Band [50th Anniversary Edition Deluxe Version]
Lowest review score: 10 Songs From Black Mountain
Score distribution:
  1. Positive: 3,635 out of 4071
  2. Mixed: 400 out of 4071
  3. Negative: 36 out of 4071
4071 music reviews
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    • 67 Metascore
    • 55 Critic Score
    Love Sign
    Free Energy can put a damn pop hook together--problem is the execution.
    • 64 Metascore
    • 49 Critic Score
    Trouble Man: Heavy Is the Head
    Trouble Man is less senile in general than "Hello," but for too many of the album's 71 minutes, we listen in horror as T.I., 32, tries flaccidly to get down with the kids.
    • 62 Metascore
    • 50 Critic Score
    Finally Rich
    When Finally Rich works (and it often does), it's thanks to everyone other than Chief Keef.
    • 78 Metascore
    • 55 Critic Score
    Other Worlds
    Other Worlds is an immersive, expansive listen, filled with warm electro-dub grooves and plenty of ear-tickling headphone details--but it can also be a snooze.
    • 72 Metascore
    • 52 Critic Score
    Vicious Lies and Dangerous Rumors
    Everything about this record is a shame: it explores new creative territory, the rhyming is solid and syntactically delightful (Big Boi's pronunciations are always more quotable than his lines), and it's a deserving outcast trying to make good as one-record-every-two-years lifer. And it simply does not work.
    • 78 Metascore
    • 52 Critic Score
    Bish Bosch
    Tonally, however, Bish Bosch offers nothing dramatically new, just (a lot more) of what Walker's done before.
    • 65 Metascore
    • 60 Critic Score
    Songs of Patience
    Their reach so far exceeds their grasp that all we can hear is the rift between their ambitions and their abilities.
    • 63 Metascore
    • 57 Critic Score
    Put Your Sad Down [EP]
    Put Your Sad Down is full of great ideas--it's the execution that's often shaky.
    • 68 Metascore
    • 58 Critic Score
    Dos!
    On "Lazy Bones," that confessional spirit adds urgency to the band's power-chord crunch. Elsewhere, though, there's a troubling lack of focus.
    • 65 Metascore
    • 54 Critic Score
    Top Ten Hits of the End of the World
    Stripped of its clever concept, Top Ten Hits for the End of the World can be apocalyptically bland.
    • 78 Metascore
    • 60 Critic Score
    The Haunted Man
    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.
    • 73 Metascore
    • 58 Critic Score
    Glad All Over
    All told, Dylan and company don't leave you glad all over--but maybe half-way.
    • 66 Metascore
    • 55 Critic Score
    As Above So Below [EP]
    As Above So Below is so soft, so painfully passive that at times that it's hard not to wander away.
    • 75 Metascore
    • 60 Critic Score
    Centipede Hz
    Centipede Hz is not their worst album as some will believe--or as its dense ugliness will first sound--and it may continue to reveal itself over time like TV on the Radio's Nine Types of Light or Spoon's Transference.
    • 69 Metascore
    • 54 Critic Score
    Anastasis
    Anastasis demands intense, patient listening, though it rarely rewards it.
    • 73 Metascore
    • 55 Critic Score
    Falling Off the Sky
    They made a wholesome record without embarrassing themselves or their fans.
    • 72 Metascore
    • 59 Critic Score
    Tucson: A Country Rock Opera
    The record is good as background noise, with a few tracks strong enough to stand alone. As a complete story, though, it doesn't exactly deliver.
    • 66 Metascore
    • 40 Critic Score
    This is PiL
    With none of the tension or electricity of the music PiL is best-remembered for, This is PiL is a disappointing return.
    • 56 Metascore
    • 45 Critic Score
    The Temper Trap
    Unfortunately, the only thing that The Temper Trap's self-titled album proves is that they may have been a one-hit wonder all along.
    • 64 Metascore
    • 60 Critic Score
    That's Why God Made the Radio
    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.
    • 73 Metascore
    • 60 Critic Score
    What We Saw from the Cheap Seats
    Unfortunately, What We Saw is heavy on overlong ballads, and when she adds that trademark whimsy to the mix, it's nearly unbearable.
    • 62 Metascore
    • 49 Critic Score
    Here
    Here winds up an album of originals, sung by the people who wrote them, but somehow resembling more than anything else a campfire sing-along of someone else's songs.
    • 64 Metascore
    • 59 Critic Score
    Anxiety
    While Anxiety is not a trainwreck, it's a missed opportunity given the strength of her foundation.
    • 63 Metascore
    • 46 Critic Score
    Not Your Kind of People
    Everything from the stilted production to Manson's lyrics to that awful album cover seems hopelessly mired in 1998.
    • 59 Metascore
    • 60 Critic Score
    Hoyas [EP]
    Hoyas sounds slick, monochromatic and even a bit stale.
    • 64 Metascore
    • 42 Critic Score
    Dr. Dee
    Unfortunately, an undertaking as complicated as Dr Dee needs all the accessibility that would-be fans can get. And instead it's nothing more than rabbit-hole music for Dr. Damon.
    • 75 Metascore
    • 55 Critic Score
    A Wasteland Companion
    A Wasteland Companion is Ward's seventh proper solo album, and it certainly has it moments, even if many of them are fairly derivative.
    • 71 Metascore
    • 45 Critic Score
    The Next Logical Progression
    Progression doesn't make a convincing argument for rap's return to the golden era. Instead, it feels a bit too grumpy and too reliant upon the good ol' days.
    • 67 Metascore
    • 55 Critic Score
    With Love
    Where lyrics are concerned, be prepared for plenty of eye rolling (or eye gouging).
    • 77 Metascore
    • 50 Critic Score
    Plumb
    Unfortunately it feels mostly like an over-concentrated mess of misplaced ambitions.
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