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
    • 65 Critic Score
    Birthmarks
    Much of Birthmarks is catchy enough to get stuck in your head, if not necessarily memorable enough to stay there.
    • 64 Metascore
    • 54 Critic Score
    Rituals
    A few too many other tracks, such as "Away", compensate for thin material with sheer bluster, and they can feel unwarrantedly grueling. But there's a conviction here, and that's nothing to feel sorry for.
    • 75 Metascore
    • 60 Critic Score
    Mosquito
    Mosquito is not without highlights, but it requires some patience to unearth them, because when this record is bad, it's loudly, brazenly bad.
    • 68 Metascore
    • 47 Critic Score
    Way to Blue: The Songs of Nick Drake
    Way to Blue is too rigid in its approach and too timid in its interpretations to challenge or enlarge our perception of Drake.
    • 71 Metascore
    • 80 Critic Score
    Totale Nite
    On Totale Nite, they manage to use small-scale elements--jangling guitars, cheapo drum machines, toy keyboards--to project the urgency of bands with louder screams and bigger amps.
    • 61 Metascore
    • 70 Critic Score
    F.M. Sushi
    FM Sushi, then, is a stepping stone for a group suddenly poised to do great things, things their debut never even suggested.
    • 75 Metascore
    • 60 Critic Score
    The North Borders
    The North Borders is not a bad album--for the most, it’s as inoffensive as those decade-old chill-out compilations--yet a frustration persists because Bonobo is better than this.
    • 74 Metascore
    • 72 Critic Score
    You Have Already Gone to the Other World
    Coming on the heels of 2011's stellar Cervantine, Other World feels like it might've been stronger had Trost and Barnes held a few more things back.
    • 63 Metascore
    • 68 Critic Score
    Recurring Dream
    Recurring Dream's a slinkier-sounding record than its predecessor: the songs are more spacious, less prone to snarling, and they've lowered the volume on Black Earth's stuck-between-stations fizz.
    • 87 Metascore
    • 81 Critic Score
    Beautiful Africa
    Being from her country means contending with the legacies of some of West Africa’s most internationally successful artists; at this point, I’d say Traoré fits comfortably alongside her forbears.
    • 76 Metascore
    • 67 Critic Score
    English Electric
    English Electric, the British new wave band's second full length since the reformation of the classic 1980s lineup in 2006, neither escapes from the quartet's past nor fully aims to.
    • 58 Metascore
    • 72 Critic Score
    For Professional Use Only [Mixtape]
    Araab's willingness to stretch keeps For Professional Use Only engaging throughout, which is no easy task; it's 67 minutes long, about 15 minutes longer than a typical festival set and probably 15 minutes more AraabMuzik than anyone needs in one sitting.
    • 72 Metascore
    • 77 Critic Score
    Cyclops Reap
    These songs don't ever feel overstuffed. Everything is faithful to White Fence's well-established aesthetic, but simplified.
    • 82 Metascore
    • 85 Critic Score
    Wakin on a Pretty Daze
    Wakin on a Pretty Daze breezes past like a Klonopin dream, and radiates an easy confidence that is as rewarding to return to as a melody.
    • 73 Metascore
    • 55 Critic Score
    For Now I Am Winter
    For Now I am Winter is competent, reasonably varied, and efficiently rousing.
    • 82 Metascore
    • 80 Critic Score
    Overgrown
    Overgrown is not as wall-to-wall great as his debut, but fans of the first LP will still find much to admire.
    • 80 Metascore
    • 79 Critic Score
    Monkey Minds in the Devil's Time
    Monkey Minds’ sharp, late-act turn into politicized proselytizing may seem jarring at first, but then it’s an accurate reflection of how politics can suddenly intrude upon our lives and upend our worldview.
    • 74 Metascore
    • 62 Critic Score
    Ministry of Love
    Ministry of Love does come off like something of a fashion victim, sounding expensive but uncomfortable, looking good but doing little to stand out.
    • 65 Metascore
    • 51 Critic Score
    Specter at the Feast
    Where the record falters is on the rockers, which are composed of clichés and exhausted riffs only.
    • 80 Metascore
    • 78 Critic Score
    Cruise Your Illusion
    Cruise Your Illusion holds its ground, but there are sociological elements to Milk Music's story that make the experience of the record even more fun.
    • 85 Metascore
    • 84 Critic Score
    Shaking the Habitual
    It is the Knife's most political, ambitious, accomplished album, but in a strange way it also feels like its most personal.
    • 81 Metascore
    • 68 Critic Score
    Victim of Love
    Victim of Love is ultimately a less successful record than No Time for Dreaming. For one, Bradley seems less connected with this set.
    • 64 Metascore
    • 70 Critic Score
    Caveman
    It's the first release for the band as an “all in” musical endeavor and it definitely feels that way.
    • 77 Metascore
    • 78 Critic Score
    The Terror
    By matching their ever-evolving, exploratory musical ethos with less eager-to-please, more confrontational modes of performance, the album marks the moment when the Flaming Lips become whole again.
    • 65 Metascore
    • 69 Critic Score
    Time [EP]
    Time is a delightfully shambling debut that succeeds in spite of obvious trappings.
    • 72 Metascore
    • 74 Critic Score
    Rkives
    Rkives is a full-sounding collection that reads like a long-lost Rilo Kiley album from the early-2000s.
    • 77 Metascore
    • 94 Critic Score
    The Lone Bellow
    If Fleetwood Mac shimmered more, rocked less and were organic without being raw, that might suggest the level of evocative language and romance The Lone Bellow exudes.
    • 80 Metascore
    • 80 Critic Score
    Abandon All Life
    This is smart, well-plotted music, which makes its anger all the more effective.
    • 59 Metascore
    • 70 Critic Score
    Cosy Moments
    This is Kinski’s most straightforward rock album, and certainly the Kinski album with the best, most concise vocal songs. If anything, the cranked-up, low-tempo instrumentals are now where the band fares worst.
    • 64 Metascore
    • 59 Critic Score
    In Guards We Trust
    At best, the verses, bridges, and instrumental passages feel custodial, doing little to disturb the flow so that the chorus can deliver a proper dynamic boost. Mostly, they just feel like Guards killing time, and Follin's power-pop Madlibs make the 45 minutes of In Guards We Trust feel significantly longer.
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