Pitchfork's Scores

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For 12,726 reviews, this publication has graded:
  • 41% higher than the average critic
  • 6% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 2.8 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 Sign O' the Times [Deluxe Edition]
Lowest review score: 0 nyc ghosts & flowers
Score distribution:
  1. Positive: 10,462 out of 12726
  2. Mixed: 1,950 out of 12726
  3. Negative: 314 out of 12726
12726 music reviews
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    • 79 Metascore
    • 75 Critic Score
    Space Heavy
    His songs have always felt close to home, charcoal-smeared with London dusk and the nocturnal cadence of London jazz. On Space Heavy, for the first time, the great London singer-songwriter’s ambitions feel accordingly local, too.
    • 83 Metascore
    • 75 Critic Score
    Scheherazade
    There’s something invigorating about hearing two alt-country veterans take apart their tried-and-true sound and reassemble it slightly askew, and Scheherazade is not only their most modern-sounding record; it might be their best since Old Paint.
    • 74 Metascore
    • 75 Critic Score
    Obscurities
    Obscurities itself is over in less than 40 minutes: It's understated, personal, insular, oddball, and often gorgeous, an unexpectedly coherent collection from an important band.
    • 76 Metascore
    • 75 Critic Score
    Themes for Dying Earth
    An exceptionally personal album from someone known for his intimate songwriting.
    • 75 Metascore
    • 75 Critic Score
    the rest [EP]
    The Rest closes its fist around the ideas that Baker, Bridgers, and Dacus have been reaching toward—that values are more worth living than dying for, that our feelings of difference and dysfunction can be fonts of power.
    • 75 Metascore
    • 75 Critic Score
    awE naturalE
    awE naturalE, like Black Up, is a pleasantly surprising resurrection of the Pacific Northwest-via-Brooklyn hippie-hop that we never might have anticipated a few years ago.
    • 82 Metascore
    • 75 Critic Score
    Exmilitary
    It's still a potentially alienating album: unnerving when you're not on its aggro wavelength, inviting when you are, and transfixing either way, thanks to the aggregate work of Death Grips' core.
    • 82 Metascore
    • 75 Critic Score
    Pearls to Swine
    Torres has traded away some pieces of the humanity that colored his earlier work in favor of a conversation about something elemental that's still waiting to be discovered. That doesn’t make for an immediate record. It makes for one full of enigmas, of beautiful and undefinable things that promise further revelations to come.
    • 83 Metascore
    • 75 Critic Score
    Live at the Royal Albert Hall 1974
    Expect improvisation and Live at the Royal Albert Hall, 1974 will disappoint. Novelty, though, it’s got—Ferry sounded like no singer in rock.
    • 70 Metascore
    • 75 Critic Score
    Something For All Of Us...
    Mostly, Something lives up to its everyman title by removing the truly heart-pounding moments of a BSS record and replacing them with a sense of community, easy friendship, and a kickass guitar pedal collection.
    • 75 Metascore
    • 75 Critic Score
    Tongue N' Cheek
    He sounds damn good over trashy, flashy electro that manages to keep pace with cadences as hyperactive as his own, and, above all, he's way more fun than he's often given credit for.
    • 81 Metascore
    • 75 Critic Score
    private LIFE
    This is joyful music with a spirit of self-preservation at its core.
    • 85 Metascore
    • 75 Critic Score
    Descension (Out of Our Constrictions)
    It’s utterly maddening, and to get lost within it feels like the past calendar year: undifferentiated, infinite, and delirious.
    • 81 Metascore
    • 75 Critic Score
    Butterfly 3000
    It’s a reminder that King Gizzard usually peak when wandering far beyond a clear-cut path. The coming of their most concise and carefree release truly could not have been better timed.
    • 80 Metascore
    • 75 Critic Score
    Mythopoetics
    Mythopoetics advances Half Waif’s tendency toward plurality of voice.
    • 76 Metascore
    • 75 Critic Score
    Meadow
    Meadow picks up where his 2004 Merge bow Dents and Shells left off.
    • 80 Metascore
    • 75 Critic Score
    SAVED!
    Hayter continues to traverse a biblical, deeply American landscape, surveying both its fire and brimstone and its transformative music. Saved! understands both of these qualities—consequently, rage, wonder, and beauty all churn just under its surface.
    • 82 Metascore
    • 75 Critic Score
    We Get By
    Because Staples has lost little expressiveness with age, We Get By sounds surprisingly raucous and admirably rough around the edges, especially on the percolating “Anytime.” But these songs are more about the small, quiet spaces where Staples can catch her breath and steel her nerves.
    • 75 Metascore
    • 75 Critic Score
    The Gamble
    The Gamble sounds like the peek into a group of friends' private rituals that it is--as charmingly patched together and messy as it is well-paced and dynamic.
    • 82 Metascore
    • 75 Critic Score
    Fyah
    Roving at will across other genres, Cross is able to wholly remake the horn in his own image.
    • 82 Metascore
    • 75 Critic Score
    Underdressed at the Symphony
    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.
    • 75 Metascore
    • 75 Critic Score
    Cracks
    Throughout Cracks, Giske appears to be striving for an alien, private vocabulary with an instrument saddled with 175 years of tradition and tropes. Against great odds, he succeeds.
    • 73 Metascore
    • 75 Critic Score
    TFCF
    This earnest, well-crafted jumble couldn’t be a more appropriate marker of the irrepressible project’s evolution, nor a more fitting testament to Liars’ legacy.
    • 75 Metascore
    • 75 Critic Score
    Million Dollars To Kill Me
    Their willingness to expand the subtleties of their sound makes Million Dollars to Kill Me an enthralling listen, even at its lowest points.
    • 71 Metascore
    • 75 Critic Score
    Myths Of The Near Future
    Klaxons' lyrical pretensions, alas, can be a reminder why the best house and trance music often emphasizes atmosphere over meaning.
    • 80 Metascore
    • 75 Critic Score
    Club Shy [EP]
    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.
    • 83 Metascore
    • 75 Critic Score
    LP [2015]
    The moments where things sound like they’re spilling over, bleeding outside of the track's imaginary lines, are when LP is most thrilling.
    • 71 Metascore
    • 75 Critic Score
    Deathless Master
    It's nice to see that a band can organically develop its sound while still maintaining a home-grown sensibility.
    • 83 Metascore
    • 75 Critic Score
    Take It Like a Man
    An echoey mix sometimes makes Shires and the players sound as if they’re performing at the bottom of a well—a drier mix would’ve drawn these tales of lust and abandon in sharper colors. But as producer Rothman has the correct instincts: They foreground Shires’ big voice.
    • 82 Metascore
    • 75 Critic Score
    the world is still here and so are we
    It’s not merely a return to their old ways, nor does their long-teased reunion feel like a cynical, nostalgia-fueled cash grab. Instead, the record is a series of reminders of what Mclusky are still capable of—whether that’s melting faces in under a minute with “juan party-system” or the razor’s-edge guitar hammering driving “the digger you deep.”
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