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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    • 83 Metascore
    • 68 Critic Score
    White Men Are Black Men Too
    It’s triumphant music for the hyperactive, plural city; it’s confrontational as a means to achieving communality, with no particular loyalties except to an anonymous, shifting collective of people who all want the same thing as Young Fathers--to be one thing, then the next, then the next.
    • 70 Metascore
    • 54 Critic Score
    The Air Conditioned Nightmare
    There are good ideas somewhere inside The Air Conditioned Nightmare, and anyone determined enough to look might get something out of them. Lyrics ranging from naively clichéd to slyly astute.
    • 57 Metascore
    • 56 Critic Score
    No Pier Pressure
    Wilson’s chipper duets never reach equilibrium. Either his presence feels underutilized--the syrupy "On the Island" with She & Him, in which his vocals are scant--or the guests feel shoehorned into musty production that undermines their own charisma.
    • 79 Metascore
    • 76 Critic Score
    Captain of None
    There are times on Captain of None where the album’s architecture is so compelling it's easy to miss the resonance of the songs themselves.
    • 77 Metascore
    • 75 Critic Score
    Insides
    Insides is Fort Romeau’s second full-length record, and although it doesn’t continue on quite the same upward trend of his recent discography in the risk-taking department, it does boast some of his most fully dimensional and impressively produced work yet.
    • 69 Metascore
    • 59 Critic Score
    Crooked Doors
    As the tempos stagnate towards the album’s back end, though, the affective force of her vocals loses potency—particularly on the pedestrian ballad "One Day"--and all the runs in the world can't distract from the sameness.
    • 81 Metascore
    • 81 Critic Score
    Ivy Tripp
    Iit never feels forced or like she's making some kind of push. It's unhurried and natural and real.
    • 69 Metascore
    • 59 Critic Score
    Dark Red
    With Dark Red, he’s taken another turn, slipping out of the pop-shadowing path he was on in exchange for something darker and bolder, but compromised by its own disorder.
    • 72 Metascore
    • 66 Critic Score
    What For?
    What For? is so passive it leaves your system the moment you’re done with it.
    • 79 Metascore
    • 66 Critic Score
    Beat the Champ
    The rest of the record isn’t as brassy as "Foreign Object", an obvious crowd-pleaser, but it’s occasionally as bold.
    • 74 Metascore
    • 78 Critic Score
    Deeper
    Occasional goth clichés aside, Deeper is a thing of beauty.
    • 69 Metascore
    • 70 Critic Score
    The Past, The Present, The Future
    In truth, they display a confidence in declining to chase or win over new fans that is exceedingly rare in legacy acts.
    • 78 Metascore
    • 75 Critic Score
    This Is the Sonics
    R&B informed the Sonics’ unhinged passion from the get-go, and This Is the Sonics pays proper homage to the group’s roots.
    • 63 Metascore
    • 53 Critic Score
    Ludaversal
    Despite production from current-day heavy hitters like Da Internz and Mike WiLL Made It, he still comes off like a relic from the past, the class clown who never quite grew up.
    • 78 Metascore
    • 83 Critic Score
    Escape From Evil
    While Hunter seems more enamored of radio hits by the likes of Gary Numan and Flock of Seagulls here, Lower Dens never quite settle into an easy genre hook.
    • 67 Metascore
    • 54 Critic Score
    The Album About Nothing
    Nothing is a long album, with one cut coming in over the six-minute mark, and when it is sludgy, it is exhausting.
    • 67 Metascore
    • 55 Critic Score
    Kintsugi
    Little of Kintsugi gives the impression that Gibbard’s motivation to reboot Death Cab is matched by legitimate inspiration.
    • 77 Metascore
    • 74 Critic Score
    Cosmic Troubles
    Cosmic Troubles sounds a sadder, vaster album than before, but one whose meditations can soothe your bones like an inviting stream.
    • 84 Metascore
    • 76 Critic Score
    Asunder, Sweet and Other Distress
    You have to let your guard down, and Godspeed have to transform feelings into compelling records. They're still on track.
    • 71 Metascore
    • 67 Critic Score
    New York Before the War
    There is nothing new in Malin’s depiction of New York, and that may be the whole point: He wants this milieu to be instantly familiar.
    • 83 Metascore
    • 62 Critic Score
    Primrose Green
    While Primrose Green is a great statement for a '70s freak-folk cosplayer, I just hope it’s not a career-defining one for Walker.
    • 73 Metascore
    • 65 Critic Score
    III
    It doesn’t always reach the level of spiritual purity it could, but there’s a touch of steel and a sense of pacing that was missing from Föllakzoid’s prior work, positioning III as a gateway for a much a deeper dive into altered states.
    • 90 Metascore
    • 93 Critic Score
    Carrie & Lowell
    This record is a return to the spare folk of Seven Swans, but with a decade's worth of honing and exploration packed into it. It already feels like his most classic and pure effort.
    • 67 Metascore
    • 60 Critic Score
    The Day Is My Enemy
    There are easily as many misses as hits on the album, and 14 tracks is probably about seven tracks too long.
    • 81 Metascore
    • 74 Critic Score
    Short Movie
    Without an overarching conceit like Once I Was an Eagle, Short Movie comes off sounding like a transition record, a short movie in the sense that it’s a prelude to something bigger.
    • 80 Metascore
    • 81 Critic Score
    Claustrophobia
    Scuba's music has always sounded wonderful--warm, rich, enveloping, ultra-vivid--but Claustrophobia feels like a major step up; the sonics are simply dazzling.
    • 72 Metascore
    • 62 Critic Score
    Chambers
    Though enjoyable, it may land in a limbo, too simplistic for fans of great chamber music or its challenging modern variants; too classical--lacking bells, whistles, samples and beats--to make it more than pleasant dinner party music for people coming from the indie side.
    • 63 Metascore
    • 64 Critic Score
    The Ark Work
    The band plays with tremendous power, verve, and energy, but the results feel leaden, even after dozens of list For all of its dense conceptual underpinnings, The Ark Work comes up curiously short on new ideas long before the album ends.
    • 78 Metascore
    • 76 Critic Score
    Time to Go Home
    Time to Go Home is a beautifully composed record about confronting your fuck-ups, but it’s also a record about feeling numb to them.
    • 74 Metascore
    • 67 Critic Score
    For All My Sisters
    For All My Sisters is a scruffy, buzzy and very hooky guitar album that doesn’t quite scan as "punk" or "indie".
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