Absolute Punk (Staff reviews)'s Scores

  • Music
For 685 reviews, this publication has graded:
  • 88% higher than the average critic
  • 1% same as the average critic
  • 11% lower than the average critic
On average, this publication grades 9.5 points higher than other critics. (0-100 point scale)
Average Music review score: 81
Highest review score: 100 The Greatest Generation
Lowest review score: 5 V
Score distribution:
  1. Negative: 5 out of 685
685 music reviews
    • 82 Metascore
    • 95 Critic Score
    This album is more than just an album-of-the-year candidate, this is a disc that is far-reaching, endlessly appealing and as strong as anything that's been released in the Americana genre in the last half-decade.
    • 67 Metascore
    • 95 Critic Score
    Simply put, this record already feels timeless.
    • 80 Metascore
    • 95 Critic Score
    They’ve re-affirmed their place as one of the best bands in the world and have created an album that is insightful, emotional, fun and just damn amazing.
    • 87 Metascore
    • 95 Critic Score
    Its a testament to the fact that Tim Hecker is one of the best artists making music today, constantly pushing his sound to new heights while keep his signature style at the core of it all.
    • 83 Metascore
    • 95 Critic Score
    The title track kicks things off with a familiar formula, with ghostly vocal samples and static noise building into a beat that kicks off, and from there things start to feel a little less familiar than they have in the past.
    • 86 Metascore
    • 95 Critic Score
    Place A Wilhelm Scream into whatever brand of punk genre there is, it doesn't matter. It is unquestionably the best album released this year in whatever genre you choose
    • 88 Metascore
    • 95 Critic Score
    Rooms Of The House is an album that refuses to be pigeonholed or boxed in by someone's standards of "what post-hardcore should be." Instead, La Dispute span multiple genres, tempos, and inspirations over the course of LP3, resulting in an album that's equally exhausting as it is enchanting.
    • 81 Metascore
    • 95 Critic Score
    One of the most unique, reflective, darkly humorous, and brilliant records to grace ears in a while.
    • 75 Metascore
    • 95 Critic Score
    The album is 55 minutes of simplistic storytelling, Oberst’s ever recognizable vocals and a whole lot of heart. If you’ve been an Oberst fan at any point of his career before 2009, it’s a record that’s easy to fall in love with.
    • 81 Metascore
    • 95 Critic Score
    On They Want My Soul, Spoon’s most wide-ranging and eclectic album of its career, this isn’t a band who are settling in to their collective stride, but searching for new places entirely.
    • 78 Metascore
    • 94 Critic Score
    Diamond Eyes is full of layers and dimensions, making it an auditory treat that listeners will want to continue to indulge themselves in. This is an album you can blast from my car stereo and then later dissect through headphones.
    • 59 Metascore
    • 94 Critic Score
    While Flowers is a bit more reserved in his solo outing, Flamingo still retains a bit the thematic charm of a typical Killers album.
    • 83 Metascore
    • 94 Critic Score
    The elements of the band complement each other instead of over-powering, thus making Ø (Disambiguation) brutally beautiful and instantly memorable.
    • 84 Metascore
    • 94 Critic Score
    As High As The Highest Heavens And From The Center To The Circumference Of The Earth doesn't just sound good, it grabs hold of every intricate audible sense in your nervous system for the entire journey of the album.
    • 78 Metascore
    • 94 Critic Score
    Wasting Light isn't perfect, but its flaws are essential to its being.
    • 82 Metascore
    • 94 Critic Score
    It's a take it or leave it, and for arguably the most consistent band in the scene over the last decade, Major/Minor is a triumph. What else and to whom do they need to prove anything anymore anyway?
    • 80 Metascore
    • 93 Critic Score
    American Slang takes the best of what the band has shown they can do, and moves it into early '60's Motown, combining it with a rich Springsteen/Strummer sound (which is just how Fallon will always be; it works for him, get over it) over a soulful rhythm section, with sprinkles of Sam Cooke, Otis Redding and Smokey Robinson in there for good measure.
    • 68 Metascore
    • 93 Critic Score
    Jimmy Eat World have not just changed the game - they continue to reinvent and redevelop it entirely, each and every time.
    • 77 Metascore
    • 93 Critic Score
    Hardcore Will Never Die has a good amount of brawn to it but ultimately falls into the category of breathtaking music that isn't made too often.
    • 84 Metascore
    • 93 Critic Score
    The themes present on Killing Time aren't too in-depth or out of the norm for what you might expect from Bayside, but this band has steadily improved on the lyrical front as it has released more music and Killing Time is no exemption from that rule.
    • 77 Metascore
    • 93 Critic Score
    From heartache and vulnerability through to acceptance and salvaging a friendship when all could have potentially been lost, who needs a plane to fly low when the detail and scenery on offer here in these forty minutes is already far more beautiful, dazzling, and effortlessly uplifting?
    • 85 Metascore
    • 93 Critic Score
    Timez Are Weird These Days is the perfect example of what London is capable of, snatching elements of popular music from across the decades to create a sound that's both nostalgic and refreshing.
    • 61 Metascore
    • 93 Critic Score
    Timez Are Weird These Days is the perfect example of what London is capable of, snatching elements of popular music from across the decades to create a sound that's both nostalgic and refreshing.
    • 86 Metascore
    • 93 Critic Score
    There's a determination in the undertone of the album. That determination in crafting of a band's best record to date, only covered by the confidence it lets off as well.
    • 72 Metascore
    • 93 Critic Score
    Employing help from not only Vernon, but also Norah Jones and Francis and the Lights among others, Voyageur is a true gem.
    • 86 Metascore
    • 93 Critic Score
    Shields not only matches its predecessor in Grizzly Bear's back catalogue, but it exceeds it.
    • 88 Metascore
    • 93 Critic Score
    As daring as it is confident and poignant in its execution, this album captures both the Converge we know and love and a Converge we're not quite accustomed to--leaving us with an album arguably as striking and challenging as anything the band has done before.
    • 75 Metascore
    • 93 Critic Score
    Hayden has arguably crafted his finest album to date.
    • 71 Metascore
    • 93 Critic Score
    Inheritance is as strong an opening statement as any released this year and with it The Last Bison firmly cement themselves as a band to watch in 2013 and beyond.
    • 79 Metascore
    • 93 Critic Score
    Nothing Was The Same is the best Drake album yet.