Pitchfork's Scores

  • Music
For 9,353 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 3.2 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 OK Computer: OKNOTOK 1997-2017
Lowest review score: 0 nyc ghosts & flowers
Score distribution:
9353 music reviews
    • 79 Metascore
    • 68 Critic Score
    As a portrait of happiness, About the Light strikes its deepest chords when Mason acknowledges the long road he took to find it.
    • 84 Metascore
    • 80 Critic Score
    Disappeared rewires many of Deerhunter’s aural hallmarks. The band has often sounded either gently sprawling, as on Fading Frontier and Halcyon Digest, or aggressive and claustrophobic, as on Monomania. Here, they manage to hit both moods at once.
    • 89 Metascore
    • 81 Critic Score
    The raw-material demos that close out B-Sides and Rarities count as the collection’s greatest revelations, affording a work-in-progress intimacy to the creative gestation behind songs that already feel as familiar as the back of one’s hand.
    • 72 Metascore
    • 75 Critic Score
    A record where frequencies oscillate with a sense of embryonic discovery; by embracing the fantastical, XXL find a new frequency of their own.
    • 82 Metascore
    • 77 Critic Score
    Paisley understands that personal lyrics don’t have to read like a diary excerpt--that specificity creates universality.
    • 84 Metascore
    • 82 Critic Score
    X 100PRE reveals an artist both proud of and unafraid to tell the truth about where he comes from.
    • 84 Metascore
    • 77 Critic Score
    Throne might not get butts on the dance floor, but its sense of movement--both within its songs and within the arc of Leigh’s evolution--is profound.
    • 79 Metascore
    • 73 Critic Score
    These songs suggest the continuous struggle to be comforted, and Shauf finds himself stronger in the company of others. Even in the detail of lonesome battles, Foxwarren’s kinship and warmth persist.
    • 81 Metascore
    • 78 Critic Score
    i am > i was shatters the notion of 21 Savage as a specialist with a narrow purview and audience, and recasts him as a star in waiting, all without forcing him into unflattering contortions. It also cements him as a far more original stylist than other hopefuls from Atlanta.
    • 78 Metascore
    • 77 Critic Score
    Not All Heroes Wear Capes doesn’t just broaden Metro’s sound, it’s a showcase for artists relieved to be working with Metro again, because that’s when they are at their most creative. ... Metro stumbles a bit when he deviates from that Atlanta sound.
    • 77 Metascore
    • 73 Critic Score
    Stranger Fruit is an uneven record. But by mixing genres and squaring them against ancient issues that remain tragically current, these songs grapple with past, present, and the possibility of the future by asking two necessary questions: How can art let us understand the problems we’ve overlooked or misunderstood? And how can we begin to fix them?
    • 69 Metascore
    • 64 Critic Score
    Icarus Falls, as a high-concept pop album, is fine. It shows off Zayn’s reluctant charisma and love-song-ready voice amid R&B ideas that are fully immersed in the present, for the most part for the better.
    • 83 Metascore
    • 76 Critic Score
    It’s not so much that Senyawa are unlike anything you’ve ever heard but the way they unify disparate genres under a single umbrella that makes the band’s approach so striking.
    • 66 Metascore
    • 63 Critic Score
    Much of Goldblum’s banter has a you-had-to-be-there quality, like squinting at a friend’s blurry photos from a party you weren’t invited to. That makes The Capitol Studios Sessions feel more like a document of an experience than the main attraction. Goldblum's most devoted obsessives won't need much persuading to visit his club.
    • 73 Metascore
    • 76 Critic Score
    The debut Big Joanie LP, Sistahs, is an impressively woven tapestry of affirmational lyrics, girl-group chants, and deep, slashing guitars that would have sounded very at home on Kill Rock Stars in the 2000s.
    • 78 Metascore
    • 65 Critic Score
    An album with more than two dozen credited producers really ought to have more surprises than this.
    • 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.
    • 87 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.”
    • 44 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.
    • 71 Metascore
    • 72 Critic Score
    Each of her songs has a steely core built from lyrics that examine heartache and vulnerability.
    • 83 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.
    • 72 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.
    • 86 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.