Slant Magazine's Scores

For 2,601 reviews, this publication has graded:
  • 36% higher than the average critic
  • 3% same as the average critic
  • 61% lower than the average critic
On average, this publication grades 8.1 points lower than other critics. (0-100 point scale)
Average Music review score: 64
Highest review score: 100 Boxer
Lowest review score: 0 Fireflies
Score distribution:
2601 music reviews
    • 83 Metascore
    • 70 Critic Score
    Caution feels like the album Mariah has wanted to make all along: one that literally throws caution to the wind and sees her embracing her inner weirdo. And, ironically, it took her ending up back at Sony Music to do it.
    • 78 Metascore
    • 70 Critic Score
    It’s a perfectly-balanced 36 minutes, and hopefully a foreshadow of more collaborations to come.
    • 69 Metascore
    • 60 Critic Score
    As revived as the classic Pumpkins sound is on Shiny and Oh So Bright, though, the album can’t quite shake the sense of superfluity endemic to reunion projects: There isn’t anything here that the band hasn’t already done before--and better.
    • 77 Metascore
    • 70 Critic Score
    Like Zuma, Elastic Days takes a little time to warm up to, but once it’s sunk in, it’s as comfortable as an old pair of jeans.
    • 89 Metascore
    • 80 Critic Score
    At nine lean but often seemingly formless tracks, Honey feels raw and incomplete, like a work in progress--and maybe that’s the point.
    • 74 Metascore
    • 80 Critic Score
    Us
    Considerably brighter, both thematically and tonally, than its predecessor, the album ascertains the guileless exhilaration of love.
    • 78 Metascore
    • 70 Critic Score
    Estelle’s fifth studio album, Lovers Rock, both bottles the ardor of the eponymous reggae style and testifies to the force of a deep and resilient love.
    • 69 Metascore
    • 70 Critic Score
    That whimsical spirit is perhaps Warzone‘s defining characteristic, despite a tracklist that leans heavily on songs about war and other forms of violence. .... Also fully intact is Ono’s trademark shriek, which has, if anything, grown richer and more resonant with age.
    • 83 Metascore
    • 70 Critic Score
    With its mix of rock and balladry, Look Now strikes a fine balance between the lively and the pensive, nodding to previous eras of Costello’s career.
    • 78 Metascore
    • 50 Critic Score
    There’s undoubtedly a strong 10-song album lodged at the core of A Star Is Born, but unlike the film, wherein an outsized sense of sentimentality is rendered affecting by the more grounded performances, there’s not nearly enough substance here to justify all the bombast.
    • 78 Metascore
    • 60 Critic Score
    This affinity for aimless trains of thought applies to the whole of Bottle It In, an album where Vile is quick to conjure up a bevy of interesting images or ideas but struggles to find a compelling way to contain them.
    • 79 Metascore
    • 70 Critic Score
    Time and again, Marshall has been reductively pegged as a gloomy singer-songwriter struggling with substance abuse and mental illness. But while her vulnerability here lends itself to melancholy, it’s also triumphant and resolute.
    • 83 Metascore
    • 70 Critic Score
    Without Abraham’s consistent presence, Fucked Up’s music sounds almost conventional. Fortunately, Dose Your Dreams proves they’ve got a deep enough bag of tricks--including a towering throng of endless overdubs and genre detours that sound as massive as the band’s ambitions--to make even conventionality sound compelling.
    • 80 Metascore
    • 70 Critic Score
    C’est La Vie doesn’t thrum with the roiling tension of Muchacho, but in finding a sense of serenity and calm in whatever life throws at him, Houck strikes a balance between happiness and longing that’s often nothing short of sublime.
    • 79 Metascore
    • 50 Critic Score
    Faithful to a fault, the tracklist sticks safely to ABBA’s most well-known hits, among them “SOS,” “Mamma Mia,” and, of course, the title track. There are scant re-imaginings here, and no obscure disco gems.
    • 75 Metascore
    • 70 Critic Score
    Digital Garbage may not be the most eloquent expression of our frustrations, but it’s as cathartic and life-affirmingly juvenile as a well-placed middle finger.
    • 89 Metascore
    • 80 Critic Score
    Unlike most ephemeral pop music today, Chris--like the gender-fluid character at its center--feels consequential and everlasting.
    • 83 Metascore
    • 70 Critic Score
    The first half of Piano & a Microphone 1983 unfolds as a kind of stream-of-consciousness medley. ... The album’s three previously unreleased songs are also of note, even if they’re just rough drafts.
    • 82 Metascore
    • 70 Critic Score
    For a once-hermetic artist, James's recent output has trended toward greater accessibility, but even by that measure, Collapse's biggest surprise lies in how warm and inviting it all is.
    • 81 Metascore
    • 70 Critic Score
    Whether the album is supposed to be taken as a contemporary tale or something closer to a retelling of Escovedo's personal history matters because, frankly, times have changed. This is why the album's most universal songs have the most resonance.
    • 62 Metascore
    • 50 Critic Score
    Raise Vibration's more serious shortcoming is its lyrics, which stumble whenever they reach for grand proclamations on the state of the world.
    • 74 Metascore
    • 50 Critic Score
    While the loping acoustic guitar figure that drives “Happy With You” isn't nearly as compositionally compelling, it's one of the only other songs here in which it sounds like McCartney is actually singing about something real. ... There are a few other tonally comparable songs on the 16-track Egypt Station, but the rest are largely bogged down in some eye-rolling cliché of one kind or another.
    • 84 Metascore
    • 70 Critic Score
    Motivated more by financial necessity than the hubris it must take to even believe such an undertaking would be feasible, Pierce nonetheless constructs a thickly layered album. And while its inherent limitations are evident at times, it's a work of characteristic ambition and poignancy.
    • 99 Metascore
    • 100 Critic Score
    It's this funhouse-mirror approach to the past—backward-looking but never self-consciously “retro”—that makes Music from Big Pink feel truly timeless. This goes double for this anniversary edition, which features a revelatory new mix supervised by veteran engineer Bob Clearmountain. His work brings a feeling of presence to the album.
    • 67 Metascore
    • 60 Critic Score
    This contrast, however, between bouncy or turbulent beats and contemplative or cosmic ambience, which recurs throughout Monsters Exist, is so dissonant that it effectively gets in the way of the album making a cohesive statement.
    • 85 Metascore
    • 70 Critic Score
    The songs that leave the most lasting impression are the most downbeat.
    • 70 Metascore
    • 60 Critic Score
    More complex ruminations are few and far between, with Tatum too often getting bogged down in generic binaries, from the fire and rain dichotomy on “Canyon on Fire” to a fickle romantic partner always “pulling me close” and “pushing me back” on “Oscillation.” Delivered with Tatum's vocals so prominent in the mix, these trite lyrical moments blemish Indigo's otherwise pristine musicality.
    • 84 Metascore
    • 70 Critic Score
    By revealing the full spectrum of her sexual expression and identity, she makes a bold and defiant statement on postgenderism through uncompromising music that's alternately elegant and raw.
    • 84 Metascore
    • 90 Critic Score
    It's this ability to capture both sides with equal commitment--the struggle and the resistance through self-love--that makes Negro Swan Hynes's most assured, accomplished, and significant album to date.
    • 69 Metascore
    • 50 Critic Score
    At 16 tracks, Woman Worldwide at times feels like an inexplicable rehash of existing material--a time-filler while Justice plots their next studio reinvention.
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