Pitchfork's Scores

  • Music
For 9,337 reviews, this publication has graded:
  • 45% higher than the average critic
  • 5% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 3.1 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 My Beautiful Dark Twisted Fantasy
Lowest review score: 0 nyc ghosts & flowers
Score distribution:
9337 music reviews
    • 63 Metascore
    • 59 Critic Score
    Grapetooth’s low-effort operation is part and parcel of their overall charm, but effortlessness doesn’t have to mean insincerity. During these 10 tracks, those feelings often seem inseparable.
    • 71 Metascore
    • 70 Critic Score
    Most of the songs on A Million and One burrow between ecstasy and threat, Nova’s voice playing at the edges of those feelings.
    • 85 Metascore
    • 80 Critic Score
    When you view the tracklist for Springsteen on Broadway and evaluate it from the perspective of one night’s performance, it’s an impressive list of songs. But when you look at it as representative of a body of work spanning four decades--which this production decidedly cannot escape representing--it is a more than suitable tribute to what Springsteen himself refers to as both his service and his “long and noisy prayer.”
    • 45 Metascore
    • 30 Critic Score
    The album never makes a case for X as anything other than a thinly subversive figure and never even rationalizes the baggage that comes saddled with it. X’s musical legacy will forever be interlinked to violence. Skins is merely a shallow attempt to overwrite that legacy gone awry.
    • 83 Metascore
    • 77 Critic Score
    The result is his best album to date--his most mystical and earthbound, all at once.
    • 85 Metascore
    • 77 Critic Score
    Just as Mandy strikes a nerve with nihilistic noise, he sweeps back to a gorgeous, heart-rending theme, like “Death and Ashes.”
    • 83 Metascore
    • 77 Critic Score
    Her third album in five years, İstikrarlı Hayal Hakikattir crackles with a live energy that stems from the 18 months of touring following its predecessor, 2016’s Hologram Ĭmparatorluğu. Producing the album with longtime guitarist Ali Güçlü Şimşek, Su Akyol is in firm command of her powers, adding a few more electronic textures to push to new heights.
    • 75 Metascore
    • 72 Critic Score
    Each of her songs has a steely core built from lyrics that examine heartache and vulnerability.
    • 78 Metascore
    • 77 Critic Score
    His songs are about joy and hunger and reflection and fun. Not one of them feels as if it’s trying to save hip-hop.
    • 74 Metascore
    • 70 Critic Score
    The band works much better when the material allows it to lean into its sleazy, session-pro sound.
    • 77 Metascore
    • 68 Critic Score
    She is at her most winning when she sounds like she is having fun.
    • tbd Metascore
    • 83 Critic Score
    Whack World morphs into a clever exercise in economy and using only what you need. It’s a visual album prepackaged for optimum social media consumption; every tiny piece stands on its own without losing sight of the larger picture. At its core, though, Whack’s sense of humor--her captivating depiction of a black woman’s imagination--is an opportunity to celebrate an aspect of art that often goes uncelebrated, an opportunity for Whack to celebrate herself.
    • 89 Metascore
    • 80 Critic Score
    Songs for Judy now feels like a concept album whose concept is just as far out as prog rock, if less flashy and more soothing. It’s a high fantasy of meadows and moons and canyons, of shows that start after midnight, of possessing or creating enough space to let Neil Young play some quiet songs for you.
    • 81 Metascore
    • 77 Critic Score
    Protomartyr has commented, too, on how Deal’s sense of melody added “femininity” to their music of Consolation; her voice certainly adds life and levity. If Protomartyr learned anything from Odyshape, it might be the audacity to explore, to locate new methods of release—and they found a bracing clarity.
    • 76 Metascore
    • 68 Critic Score
    Ens
    Ens tables the queries, at least temporarily, for a strictly personal statement. However you approach its aesthetic beauty, that is a much less satisfying response.
    • 78 Metascore
    • 75 Critic Score
    While the Good, the Bad & the Queen are skilled at providing a wide breadth of styles here--from the woozy, carnivalesque organ of “The Last Man to Leave” to “The Truce of Twilight”’s militaristic chants--they especially succeed at conveying a crumbling and isolated Britain.
    • 84 Metascore
    • 80 Critic Score
    In creating space for such a rich spectrum of expression, Self and his many families of collaborators have created a timely and timeless document of the kinship possibilities that await when ears and hearts stay open.
    • 77 Metascore
    • 65 Critic Score
    After the maze-like worlds conjured by Age Of and Garden of Delete, Love in the Time of Lexapro plays it disappointingly straight.
    • 76 Metascore
    • 77 Critic Score
    Mostly the record commits to what he does best: substantial rap with clear stakes and an uncommon sense of purpose. After a career marked too often by botched opportunities and wasted potential, Meek Mill has finally risen to the moment.
    • 77 Metascore
    • 79 Critic Score
    One night in January 1979, Bauhaus ventured into the bat cave and came out with a unicorn.
    • 39 Metascore
    • 34 Critic Score
    Mostly the standard fare of Tekashi throwing sounds and flows at the wall, praying something sticks.
    • 72 Metascore
    • 73 Critic Score
    Even as pop culture continues to diverge sharply from Spencer’s definition of cool, he remains too spirited and unhinged as a performer to harden into cranky-old-man bitterness.
    • 84 Metascore
    • 83 Critic Score
    Alive and inspired, WARM is a different type of reinvention--as daring as Wilco’s early landmarks but more subtle and sustainable. He’s not trying to break your heart. He just is.
    • 76 Metascore
    • 78 Critic Score
    The generational chasm between parents and children can feel deep and dark, but Anne, both the album and the person, builds a bridge with light and tremendous empathy.
    • 86 Metascore
    • 88 Critic Score
    The project is distinctly rough around the edges, to great effect; there’s the sound of dust popping off vinyl and cassette hiss throughout. ... His uncle and father are gone, but Earl is still here, carrying on their artistic legacy--and, with the help of his collaborators, building his own.
    • 82 Metascore
    • 75 Critic Score
    The Dream My Bones Dream grapples with memories that aren’t one’s own and tries to find some kernel of wisdom within them. It’s a multilayered, foggy work and one of Ishibashi’s fullest collections to date, showing us how the past can propel us forward.
    • 81 Metascore
    • 72 Critic Score
    Ouch is utterly, unapologetically about Krgovich’s own [breakup], an album of unvarnished particulars and graphic details. That doesn’t make “Ouch” less relatable. It has the opposite effect. Its specificity is what makes it ring true.
    • 87 Metascore
    • 85 Critic Score
    The members of the 1975 began playing together in their teens as an emo band, and they are still interested in wringing out unadulterated feeling from everything they touch. This is the thread that grounds even their most dubious dabblings, and makes their dilettantism amount to more than a series of stunts.
    • 86 Metascore
    • 80 Critic Score
    The tape is a short, sweet, and potent mix of what Curren$y, Freddie Gibbs, and producer Alchemist do best. It is also an example of the good that can happen when seasoned vets link up and operate under the radar and outside of the major label system.
    • 78 Metascore
    • 74 Critic Score
    This is ambient folk, shot through with ambient anxiety.

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