Pitchfork's Scores
- Music
For 12,014 reviews, this publication has graded:
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41% higher than the average critic
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6% same as the average critic
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53% lower than the average critic
On average, this publication grades 2.9 points lower than other critics.
(0-100 point scale)
Average Music review score: 70
Highest review score: | Sign O' the Times [Deluxe Edition] | |
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Lowest review score: | nyc ghosts & flowers |
Score distribution:
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Positive: 9,829 out of 12014
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Mixed: 1,878 out of 12014
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Negative: 307 out of 12014
12014
music
reviews
- By Date
- By Critic Score
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- Critic Score
sunshine is a slightly scattered, but emotionally generous collection of music that cycles compassionately through the collapse of one relationship and into the hopeful beginning of another.- Pitchfork
- Posted Mar 11, 2024
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- Critic Score
On Bleachers—especially on the singles-heavy first half—the band is simply playing for each other, much to the songs’ benefit.- Pitchfork
- Posted Mar 7, 2024
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The cacophonous, vexing, endlessly fascinating The Collective represents the experience of logging off and finding that your perception of the real world has been forever altered. Few are better equipped than Gordon—who, at 70, is still cooler, smarter, and more fearless than most—to guide us through.- Pitchfork
- Posted Mar 7, 2024
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As usual, the feeling of her vocals is more compelling than its literal meaning. These opening songs are strong enough. .... However, by the time we get to these songs towards the end of the album, the fatigue of listening to familiar riffs and howls starts to set in. Playing Favorites is at its best right in the middle.- Pitchfork
- Posted Mar 7, 2024
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Pissed Jeans haven’t overhauled their sound or reinvented themselves or “matured” as artists so much as they have amassed a new inventory of modern miseries to turn into scuzz-punk tantrums, from catalytic converter theft (“[Stolen] Catalytic Converter”) to crippling medical debt ("Sixty-Two Thousand Dollars in Debt").- Pitchfork
- Posted Mar 6, 2024
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This is a brutally loud album, its low end practically steroidal; downstrokes are accompanied by walloping thwacks, rendering the guitar a percussive instrument as much as a tonal one. Few records—certainly few records that take their cues from the heaviest strains of metal—can boast such a vast dynamic range.- Pitchfork
- Posted Mar 5, 2024
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As a listener, you pay attention not just to those steps but to the overtones that fill the air in between. Each chord is a burr of wonderment.- Pitchfork
- Posted Mar 4, 2024
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The album is spritely, frequently bright, as intensely melodic as Ex Hex’s triumphant Rips and more playful than a record this heartbroken probably should be.- Pitchfork
- Posted Mar 4, 2024
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Few MCs, on his label or elsewhere, are capable of firing in so many different directions and hitting this many targets at once without sounding out of their depth, but Q corrals the ups and downs of his lavish lifestyle into a deliriously entertaining joyride.- Pitchfork
- Posted Mar 4, 2024
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If you, like Webster, feel most at home in the warm glow of a band in the pocket of a groove, Underdressed at the Symphony delivers just under 40 minutes of gentle melodies and extended jams, a soft landing pad after the end of a romance.- Pitchfork
- Posted Mar 1, 2024
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I Got Heaven moves with an intuitive grace that makes it feel stadium-sized without losing its nuance or its grounding in the scene that birthed it. It’s easy to love, and it knows it.- Pitchfork
- Posted Feb 29, 2024
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There’s no disco excursion on Daniel—they already pulled off that trick on 2020’s The Main Thing—but it’s the cleanest and leanest album they’ve ever made.- Pitchfork
- Posted Feb 28, 2024
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I’d argue that 4L and Up 2 Më are bolder than anything here: Yeat’s older projects threw you into the deep end of his magma flows and fuzzy world-building and asked that you either get it or don’t. An album this safe and familiar will be great for packing out bigger concert venues but only makes his musical identity more nebulous.- Pitchfork
- Posted Feb 27, 2024
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The Past Is Still Alive’s fantastical yet sharply observed writing and revival of a more traditional sound feels like a homecoming.- Pitchfork
- Posted Feb 27, 2024
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Where we go from here isn’t just a throwback. It carries the spirit forward, reaffirming that indie rock, as a style and ethos, can still feel like the most exciting thing a young person could be into.- Pitchfork
- Posted Feb 26, 2024
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- Pitchfork
- Posted Feb 26, 2024
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For all its finesse, it can obviously never replicate the futurism that defined its biggest inspirations; these classy reproductions only highlight the chasm between us and that halcyon moment.- Pitchfork
- Posted Feb 26, 2024
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It’s a fairly conventional set of club bangers done right: This is an alluring, nonchalant flex between albums that’s weird enough to drop in the hyperpop Discord, but satisfying enough to play at your next birthday party.- Pitchfork
- Posted Feb 23, 2024
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The album-closing title track, which charts weird new territory not just for MGMT, but in some small sense, for pop itself. .... is, in other words, the perfect thematic conclusion to an imperfect album. And more to the point, it just hits.- Pitchfork
- Posted Feb 23, 2024
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As good as it often is, Mowed Sound reinforces what, in retrospect, has been Nance’s conundrum all along: He remains the clerk across the record store counter, gushing about all the things he loves without being able to tell you the one he likes best, the one he would forever commit to calling his own.- Pitchfork
- Posted Feb 22, 2024
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On Blu Wav, Grandaddy’s first album in seven years, Lytle leans into bittersweet Americana twang, a natural fit for his fatally flawed, cautiously optimistic cast of characters.- Pitchfork
- Posted Feb 21, 2024
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As a synergistic mythmaking effort, the album is certainly doing its job; as music to soundtrack your actual life, well, it’s about time lute pop got its shine.- Pitchfork
- Posted Feb 21, 2024
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While a few songs here could be Chromeo canon, Adult Contemporary too often feels like a glossy recreation of their earlier sound that’s missing the idiosyncrasy and baked-in humor.- Pitchfork
- Posted Feb 21, 2024
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Nothing in contemporary music sounds quite like it, yet it seems to have always been with us, hovering just outside the realm of possibility.- Pitchfork
- Posted Feb 20, 2024
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None of these modes are new—you might hear echoes of the Ramones’ brash vintage punk, PJ Harvey’s spare 4-track demos, or Jeff Rosenstock’s radically optimistic pop-punk—but Grace comfortably inhabits each.- Pitchfork
- Posted Feb 20, 2024
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These songs are not as impassioned or ornate as “cherubim” or “four ethers,” but serpentwithfeet hasn’t lost his bite.- Pitchfork
- Posted Feb 20, 2024
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He plays with fewer frills than he did on Uneasy—but his fantastic instincts make the consistency of his beats another motor behind the record’s forward locomotion.- Pitchfork
- Posted Feb 16, 2024
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Cohen’s songs can sound loose and jammy on a first listen. The delicate strummed figure that kicks off opener “Milk” quickly refracts into pinwheeling dual leads—both played by Cohen, uncannily evoking a live performance—before the band settles into a groove, anchored by Evan Backer’s sensitive bass playing and Daniel Swire’s crisp drums (Evan Burrows plays drums on two other tracks).- Pitchfork
- Posted Feb 16, 2024
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On TANGK, Idles smooth their rougher edges as they explore love in all of its facets—it would be their warmest and most melodic record to date, if only Talbot could get out of his own way.- Pitchfork
- Posted Feb 16, 2024
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On their second album, Harm’s Way, McGreevy and fellow guitarist Lewis don’t do much to upset their winning formula; they just execute it with more militaristic precision.- Pitchfork
- Posted Feb 15, 2024
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