Absolute Punk (Staff reviews)'s Scores

  • Music
For 731 reviews, this publication has graded:
  • 87% higher than the average critic
  • 1% same as the average critic
  • 12% lower than the average critic
On average, this publication grades 9.4 points higher than other critics. (0-100 point scale)
Average Music review score: 81
Highest review score: 100 Strange Trails
Lowest review score: 5 Fashionably Late
Score distribution:
  1. Negative: 5 out of 731
731 music reviews
    • 68 Metascore
    • 90 Critic Score
    More than anything, Moving Mountains feels complete.
    • 68 Metascore
    • 90 Critic Score
    Paperboy has done it. I mean, I don't really know what he's done. He's made this album, Come and Get It, that truly stands in its own category in 2010.
    • 68 Metascore
    • 90 Critic Score
    The combination of Vigil's honest, yet relatable lyricism and the powerful instrumentation make for the band's most powerful statement to date.
    • 68 Metascore
    • 86 Critic Score
    They have taken what they knew they were at good first time round, shed some of the cliche post rock elements and pressed on in a direction which at this stage in their career was perhaps a safer bet as opposed to trying something completely new, but it was the right bet.
    • 68 Metascore
    • 88 Critic Score
    What Antonoff has accomplished with Bleachers that he hasn’t yet with fun. or never did with Steel Train is create an album that inspires as much as it transports. It’s so sure and precise in its vision that it almost feels like a concept album without a concept.
    • 68 Metascore
    • 84 Critic Score
    NOFX take a crack at pressing matters both inwards and outwards, succeeding in not only making a seamless expression of both sides but cranking out some truly memorable jams to boot.
    • 67 Metascore
    • 87 Critic Score
    Without a doubt, this is all a lot to swallow, especially for long time fans of the band. Pure pop escapism this isn't, but as proof-positive that a band can evolve into legitimate artists without resorting to navel-gazing, it's wholly triumphant.
    • 67 Metascore
    • 88 Critic Score
    At the end of the day, when you look at this album, everything just fires on all cylinders--lyrically, vocally, instrumentally.
    • 67 Metascore
    • 90 Critic Score
    They may not be quite as distraught as Smith was, and they certainly opt not to strum as fast as he did, but the shared sentiment is still there. And on The Unfazed, that sentiment carries a savory beauty.
    • 67 Metascore
    • 85 Critic Score
    With albums as comfortable and likable as Twin Forks, there’s simply no reason to mourn Carrabba’s decision to give this new band his full focus for the time being.
    • 67 Metascore
    • 82 Critic Score
    Pyramid of the Sun not only remedies the sporadic deficiencies of Inventions for the New Season, it does proud the legacies of Jerry Fuchs and Manuel Gottsching; it also serves as both a challenge and heuristic experience for the alarmingly proliferating post-rock contingent.
    • 67 Metascore
    • 88 Critic Score
    Henry Tremain does a fine job replacing the ever-inventive Stuart Smith on vocals. His lyrics aren't that much fun to sing, but they're nice to read.
    • 67 Metascore
    • 95 Critic Score
    Simply put, this record already feels timeless.
    • 67 Metascore
    • 84 Critic Score
    Guest appearances on any type of album usually generates some negativity but the ones on Adventures really shine and freshen it up a bit.
    • 66 Metascore
    • 84 Critic Score
    The beauty of an album like Don't Let The Sun is that in between the rickety monuments to group songwriting, there is a simple and subtle message of camaraderie.
    • 66 Metascore
    • 85 Critic Score
    Whereas 2011's Want More felt uneven, Howl is dynamic, controlled and with few, if any holes.
    • 66 Metascore
    • 90 Critic Score
    It's not all slow and mid-tempo numbers that litter the forty-five minute duration of The Slideshow Effect. There are also moments where the band is unafraid to lift the urgency, to create a semblance of sustained momentum, and to incorporate a few timely hooks and memorable melodies along the way.
    • 66 Metascore
    • 86 Critic Score
    The end result is this expertly-crafted, inoffensive, hook-laden pop. Though it gets a bit silly in places, the core of this disc is far too good to pass up.
    • 66 Metascore
    • 90 Critic Score
    This is as good as any album post-punk/garage rock has produced in quite some time.
    • 66 Metascore
    • 85 Critic Score
    All in all, People and Things hits home as an almost surprisingly diverse record from Jack's Mannequin.
    • 66 Metascore
    • 84 Critic Score
    Much of My Brother's Ears/My Sister's Eyes does tend to bleed together for the most part, but it's a wonderful blend of an experience at that.
    • 66 Metascore
    • 85 Critic Score
    Overall, the EP works wonders, given largely to the fact that it contains unreleased tracks from sessions of the band's greatest, most straightforward work to date.
    • 66 Metascore
    • 85 Critic Score
    Anarchy, My Dear is a record that promises that anything could happen at anytime, and Bemis and company do their very best to shake up what has been expected from them as a band.
    • 66 Metascore
    • 86 Critic Score
    Wreckorder is the sound of a songwriter firmly embodying the spirit of Britpop and testing himself. "Sing Me To Sleep," and "As It Comes," also point towards signs of maturation that were never seen in the Travis back catalog.
    • 66 Metascore
    • 82 Critic Score
    We Do What We Want is far from perfect – the track sequencing is awkward and doesn't feature the technicality of previous albums (this is where they really miss Shelton) – it is still unlike any other Emery release.
    • 65 Metascore
    • 88 Critic Score
    By teaming up with some of the best producers in the r&b/hip-hop genre right now, including frequent Drake collaborators T-Minus and Boi-1da, Kelly Rowland has managed to make one of the best sounding r&b albums of the year.
    • 65 Metascore
    • 90 Critic Score
    Every song on Soul Punk bleeds confidence and assurance--that these songs are what Patrick Stump is happy creating--music that he's proud of.
    • 65 Metascore
    • 85 Critic Score
    Though it is probably not Coldplay's best, it is indeed a memorable listen and another chapter for a band whose place in rock music is firmly cemented.
    • 65 Metascore
    • 81 Critic Score
    It's nice to have a few good new tracks to add to the collection from one of the scene's finest.
    • 65 Metascore
    • 81 Critic Score
    So while the disc may not his best album, it is still one that makes you think and challenges you.