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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    • 61 Metascore
    • 55 Critic Score
    FWA (Free Weezy Album)
    The effort and energy are there but the soul is missing.
    • 73 Metascore
    • 70 Critic Score
    PeteStrumentals 2
    The beats are all quality, but without voices there's not much they can do in three-and-a-half minutes that they don't have the strength and presence to do in two.
    • 69 Metascore
    • 66 Critic Score
    Pattern of Excel
    Pattern of Excel is similarly idiosyncratic--it feels, in many ways, like a fistful of sketches torn from the notebook and tossed to the wind. Making sense of the ways they fall is part of the pleasure of this quiet, cryptic record.
    • 66 Metascore
    • 59 Critic Score
    Era
    For enthusiasts of the goth/post-punk nexus, it absolutely has its moments.
    • 75 Metascore
    • 66 Critic Score
    Glider
    The record walks well-treaded territory lyrically and musically.
    • 72 Metascore
    • 72 Critic Score
    Adrian Younge Presents: Twelve Reasons to Die II
    It has a bigger-budget feel—stronger guests, better pacing, and a more careful consideration for its audience.
    • 75 Metascore
    • 80 Critic Score
    Fingers, Bank Pads and Shoe Prints
    Fingers, Bank Pads & Shoe Prints is a nice reminder that footwork's version of classic rock still overflows with bizarre juxtapositions and high-wire pileups.
    • 80 Metascore
    • 69 Critic Score
    Perpetual Motion People
    While he's deeply indebted to traditional sounds and familiar structures, he comes alive most when he's sewing fissures into the forms he knows so well.
    • 45 Metascore
    • 39 Critic Score
    The Gold Album: 18th Dynasty
    We have 12 microwave-nuked approximations of Drake songs circa 2013 and Kanye songs spanning from The College Dropout to Yeezus, with none of the wit, soul, or edge.
    • 74 Metascore
    • 64 Critic Score
    Mercy
    Mercy is studiously lovely, like a brochure for paradise, and over its course it begins to feels like a sunset in Grand Theft Auto V: beautiful, but a replica.
    • 74 Metascore
    • 74 Critic Score
    Dreams Worth More Than Money
    Maybe it only all coheres in flashes, but if Meek Mill works best in bursts, then so be it.
    • 77 Metascore
    • 77 Critic Score
    Morning/Evening
    The scope and ambition of Morning/ Evening is profound, and will hopefully inspire producers to take bigger chances and not be satisfied with pop- or club-friendly lengths. Even where Morning/Evening doesn't quite work, it's daring and expansive.
    • 78 Metascore
    • 79 Critic Score
    The Deslondes
    Their debut introduces a band that sounds confident and fully formed.
    • 78 Metascore
    • 78 Critic Score
    The Heart Is a Monster
    The Heart Is a Monster contains no less than six ambient interludes. A whole separate album in that style would've been nice, but even in truncated form the interludes cast Philip Glass-ian shades onto the other songs and suggest that Failure's creativity is far from exhausted.
    • 84 Metascore
    • 89 Critic Score
    Wildheart
    Focusing on Wildheart's overt eroticism is one way of listening, but it's impossible to overlook just how seriously he's taking craft.
    • 78 Metascore
    • 72 Critic Score
    In Another Life
    Younge’s soundtrack evokes Sly Stone’s improvised funk and buffers Bilal’s ruminating ballads, and the LP falters when it strays from that sound.
    • 78 Metascore
    • 74 Critic Score
    My Love Is Cool
    The confident diversity of My Love Is Cool indicates a band who have their own thing all figured out, who shouldn't veer from their own strange path to live up to outdated narratives that dictate what a young British band should be.
    • 77 Metascore
    • 67 Critic Score
    Moonbuilding 2703 AD
    Some moments on Moonbuilding show the Orb, if not regaining their form, then offering up decent ambient music. But elsewhere they revert back to a formlessness that's devoid of their quirky stoner persona.
    • 79 Metascore
    • 74 Critic Score
    Bleeder
    Mutoid Man may not be the resurrection of Cave In’s on-again-off-again majesty, but it savagely boils down Brodsky’s brainy ambition to a primal scream.
    • 61 Metascore
    • 52 Critic Score
    The Monsanto Years
    With much of the songwriting on The Monsanto Years taking the form of hastily scribbled screeds, the most revelatory moments come when Neil grapples with the paradox of making complex politics more pop-song palatable.
    • 87 Metascore
    • 88 Critic Score
    Summertime '06
    Summertime '06 is breathtakingly focused, a marathon that feels like a sprint.
    • 77 Metascore
    • 78 Critic Score
    Tundra
    As with any piece of music that ebbs and flows this forcefully, you should listen to it loudly, and try to get swept away by it.
    • 81 Metascore
    • 80 Critic Score
    DJ-Kicks: DJ Koze
    Koze finds home for these misfit songs, and by doing so gets you thinking about possibilities, what else that might be out there waiting to be rediscovered.
    • 81 Metascore
    • 83 Critic Score
    The Beyond/Where the Giants Roam [EP]
    The songs here are airy, and often provisional-feeling, while Thundercat's lyrics reliably invoke death, mourning, and vulnerability.
    • 80 Metascore
    • 72 Critic Score
    Get to Heaven
    While Get to Heaven's ceaseless terror and heavy arrangements can be overwhelming, more power to Everything Everything for attempting to offer a nuanced understanding of a broken world at a time when a lot of their significantly less imaginative British indie rock peers say worse than nothing.
    • 77 Metascore
    • 72 Critic Score
    Music For The Motion Picture Victoria [OST]
    The Victoria OST marshals more instruments than his solo piano works, but not many more--each new sound, whether it's a husky-throated cello on "Our Own Roof" or the subcutaneous hum of organ keys on "The Bank", tiptoes in carefully and gingerly.
    • 69 Metascore
    • 54 Critic Score
    Freedom
    It's unclear from this album what they came back to accomplish.
    • 77 Metascore
    • 78 Critic Score
    Feels Like
    Feels Like doesn’t reference any specific dates or weather, but it feels like a summer coming-of-age album.
    • 80 Metascore
    • 72 Critic Score
    Pale Horses
    Musically, Pale Horses functions as a kind of career summary, compressing their musical digressions into a coherent whole.
    • 80 Metascore
    • 75 Critic Score
    Still
    One clunker on an album full of gems doesn't drag everything else down, though, and Thompson deserves all our respect--he's been through the major-label wringer, found his place where he can be celebrated as he deserves among his independent fans, and is still making complicated, thoughtful, intricate, resonant music on his own terms many decades deep into his career.
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