For 3,122 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
Score distribution:
-
Positive: 1,692 out of 3122
-
Mixed: 1,319 out of 3122
-
Negative: 111 out of 3122
3122
music
reviews
- By Date
- By Critic Score
-
- Critic Score
While Evil Spirits isn't a late-career masterpiece, Visconti's production chops have at least ensured a warm and rich listening experience.- Slant Magazine
- Posted Apr 3, 2018
- Read full review
-
- Critic Score
Pensive stabs of orchestration add tension to the title track, on which Everett can only muster generic musings on the need to break oneself apart in order to be rebuilt into something new. ... A number of brief, half-formed interludes make the album feel more fragmented than connected.- Slant Magazine
- Posted Mar 30, 2018
- Read full review
-
- Critic Score
A stultifying two discs of competent but generic Christian platitudes.- Slant Magazine
- Posted Mar 19, 2018
- Read full review
-
- Critic Score
The album is admirable and at times rewarding for its sense of experimentation, but only for those willing to meet it on its own terms.- Slant Magazine
- Posted Mar 14, 2018
- Read full review
-
- Critic Score
A postmodern assault of freaked-out sonic ataxia, it's messy, wildly uneven, and at times even close to unlistenable, but its sheer audacity makes it utterly intriguing.- Slant Magazine
- Posted Mar 13, 2018
- Read full review
-
- Critic Score
While none of it is of the caliber of the music he released in his lifetime, the album includes material from some of the last studio sessions by the Experience and the earliest by Hendrix's final outfit, Band of Gypsys, offering a glimpse at a transitional phase in his work.- Slant Magazine
- Posted Mar 8, 2018
- Read full review
-
- Critic Score
The eight-minute, two-part “Rusalka, Rusalka/Wild Rushes” stands in stark contrast to the rest of the album in almost every way. ... By comparison, the rest of I'll Be Your Girl feels painfully half-baked.- Slant Magazine
- Posted Mar 5, 2018
- Read full review
-
- Critic Score
While American Utopia isn't as vital a statement as it wants to be, it's the sound of one of pop music's most idiosyncratic voices continuing to follow his wayward muse.- Slant Magazine
- Posted Mar 2, 2018
- Read full review
-
- Slant Magazine
- Posted Feb 16, 2018
- Read full review
-
- Critic Score
When Seger sticks to growling out his lyrics over jagged riffs and a relentless beat, as he does on the driving “Runaway Train” and the synth-driven “The Highway,” he proves that craft can be rewarding in its own right, and that he still excels at creating emotional investment in something as tried and true as barreling, locomotive rock.- Slant Magazine
- Posted Feb 5, 2018
- Read full review
-
- Critic Score
The majority of the highlights on Man of the Woods, from the faux-Stevie Wonder groove of “Higher, Higher” to the smooth dance-floor glide of “Breeze Off the Pond,” could have appeared on any Timberlake album, give or take a few pointedly rural references to roadside billboards and canoes. The songs that hew more closely to the Americana vibe, meanwhile, are mostly embarrassing.- Slant Magazine
- Posted Feb 1, 2018
- Read full review
-
- Critic Score
Eminem can still dazzle with his wordplay--“Adversity, if at first you don't succeed/Put your temper to more use/'Cause being broke's a poor excuse” is an early highlight on “Believe”--yet his delivery, listless torrents of language, makes him seem noncommittal to the songs he's performing. He's not quite on autopilot throughout, but he does sound distracted. Eminem is more engaged on Revival when his focus turns to his family.- Slant Magazine
- Posted Dec 18, 2017
- Read full review
-
- Critic Score
It's disappointing to hear one of the all-time great vocalists turn in such mundane performances.- Slant Magazine
- Posted Dec 4, 2017
- Read full review
-
- Critic Score
Sia too often sounds like she's singing with a mouthful of Christmas candy.- Slant Magazine
- Posted Nov 22, 2017
- Read full review
-
- Critic Score
Too often, though, Morrissey sticks with sturdy, stomping rock, its workmanlike construction bogged down by turgid lyrics.- Slant Magazine
- Posted Nov 20, 2017
- Read full review
-
- Critic Score
Seven years after their debut, they remain both confined and defined by their early novelty as the twee pop group with the loud guitars.- Slant Magazine
- Posted Nov 9, 2017
- Read full review
-
- Critic Score
Listening to Red Pill Blues makes one yearn for an era when there at least seemed to be more room for genuinely ambitious, artful Top 40 pop. In other words, I'll take the blue pill.- Slant Magazine
- Posted Nov 3, 2017
- Read full review
-
- Critic Score
These songs are littered with allusions to Price's difficult past as a broke, troubled magnet of misfortune with a late-blooming career, but they're by and large so vague that they don't have much of an emotional impact.- Slant Magazine
- Posted Oct 24, 2017
- Read full review
-
- Critic Score
His oddball pop-culture references and fondness for clichés can be charming amid wailing electric guitars, but taking center stage, they too often fall flat.- Slant Magazine
- Posted Oct 24, 2017
- Read full review
-
- Critic Score
Plastic Fantastic isn’t essential or especially relevant--though the aforementioned “What the Hell’s Goin’ On” does capture a certain familiar sense of aging-liberal bewilderment. It is, though, a utilitarian product, offering up 12 newly recorded songs that will allow the band to get back on the road.- Slant Magazine
- Posted Oct 17, 2017
- Read full review
-
- Critic Score
Enjoying this album will depend on your tolerance for Wu-Tang at its most generic.- Slant Magazine
- Posted Oct 16, 2017
- Read full review
-
- Critic Score
Beautiful Trauma's neat construction renders the album less than the sum of its parts, but individual songs work well enough, thanks in no small part to Pink's personality and charisma.- Slant Magazine
- Posted Oct 16, 2017
- Read full review
-
- Critic Score
At times, it seems as though Beck is grasping at something, anything, to add conflict and tension to this effusive album. But all he comes up with are the most well-worn of sentimental platitudes.- Slant Magazine
- Posted Oct 13, 2017
- Read full review
-
- Critic Score
It's the sound of a promising young singer who tried and failed to produce compelling music on the margins, turning back and self-consciously striking a more conservative pose. It's not as interesting a story, maybe, but it's also not as problematic.- Slant Magazine
- Posted Oct 4, 2017
- Read full review
-
- Critic Score
Fergie struggles to balance the new with the old throughout the album. Where Stefani’s raw confessionals helped distinguish This Is What the Truth Feels Like, though, Double Dutchess is stuck in the past.- Slant Magazine
- Posted Oct 3, 2017
- Read full review
-
- Critic Score
Unfortunately, an excess of downtempo tracks mires Tell Me You Love Me's momentum in its second half, concluding with a pair of refreshing but nearly identical back-to-back acoustic-driven R&B songs that might as well be a medley.- Slant Magazine
- Posted Oct 2, 2017
- Read full review
-
- Critic Score
When Amos eschews her band in favor of barer piano-and-vocal arrangements—as on the contemplative “Breakaway,” the surprisingly reverent “Climb,” and the lush “Mary's Eyes,” a mournful plea to the gods to reverse Amos's mother's aphasia--Native Invader fulfills the promise of its stunning opener.- Slant Magazine
- Posted Sep 5, 2017
- Read full review
-
- Critic Score
The sneaky-sounding arpeggios and the hushed, fragile vocal performances that defined albums like Our Endless Numbered Days are eschewed in favor of bright strumming and unbridled joyousness, rendering most of Beast Epic undeniably pretty but ultimately toothless. That's not to say Beast Epic doesn't sometimes explore hefty themes.- Slant Magazine
- Posted Aug 15, 2017
- Read full review
-
- Critic Score
The album's lyrics, however, can't match this same level of musical precision, and Granduciel too often repeats the same vague sentiments using threadbare imagery.- Slant Magazine
- Posted Aug 10, 2017
- Read full review
-
- Critic Score
TFCF lacks the forceful unity of the best Liars albums, particularly the thoughtful avant-garde theatrics of They Were Wrong So We Drowned and Drum's Not Dead. The songs here function more like a series of half-developed sketches, often invigorating but a tad shambolic, the lyrics' cryptic nature failing to connect with any coherent central thesis.- Slant Magazine
- Posted Aug 4, 2017
- Read full review