Alternative Press' Scores

  • Music
For 2,722 reviews, this publication has graded:
  • 63% higher than the average critic
  • 3% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 0.7 points higher than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 Beast Moans
Lowest review score: 0 Results May Vary
Score distribution:
2,722 music reviews
    • 69 Metascore
    • 100 Critic Score
    The irony police already have an APB out on these dudes... but in reality, the old guard are just jealous because they didn't think of it first. [Dec 2005, p.206]
    • 68 Metascore
    • 100 Critic Score
    The best Def Leppard album "Mutt" Lange never wrote. [Feb 2006, p.126]
    • 59 Metascore
    • 100 Critic Score
    It may be one of the least "punk" albums a pop-punk band will make this year--but it's probably one of the best, too. [Feb 2006, p.113]
    • 76 Metascore
    • 100 Critic Score
    The words are as bleak as ever, and the songs still cut like coal-black shards of anti-pop bitterness. [Apr 2006, p.204]
    • 74 Metascore
    • 100 Critic Score
    While Mogwai once seemed too ambitious for their own good, Mr. Beast perfectly distills the essence of the band's raison d'etre. [Apr 2006, p.214]
    • 85 Metascore
    • 100 Critic Score
    An astonishing collection... that should leave Case's peers eating a cloud of Nashville dust. [Apr 2006, p.204]
    • 78 Metascore
    • 100 Critic Score
    [A] divine disc. [Apr 2006, p.207]
    • 79 Metascore
    • 100 Critic Score
    The disc may be too weird for people who like their music categorically cut and dried, but adventurous listeners will want to bang Liars' Drum often. [May 2006, p.178]
    • 74 Metascore
    • 100 Critic Score
    Infectiously noisy. [May 2006, p.166]
    • 71 Metascore
    • 100 Critic Score
    Elan Vital is easily the band's most adventurous disc to date. [Jun 2006, p.178]
    • 74 Metascore
    • 100 Critic Score
    The Dolls' music... is as gripping as ever. [Jun 2006, p.188]
    • 69 Metascore
    • 100 Critic Score
    Despite the oddball showpieces, the Furnaces have refocused the lens on their homemade-pop kaleidoscope, and the result is a unversally resonant album that's not just more joyful than it's companion; it's also more essential. [Jul 2006, p.192]
    • 80 Metascore
    • 100 Critic Score
    The songs are mature but not boring; nicely layered but not overproduced; well executed but not sterile. [May 2006, p.164]
    • 81 Metascore
    • 100 Critic Score
    Another instrumental masterpiece. [Jun 2006, p.192]
    • 68 Metascore
    • 100 Critic Score
    As with everything in Tool's oeuvre, 10,000 Days packs enough beauty, heartache and triumph that it will be dissected, studied and envied by younger bands for years to come. [Jul 2006, p.196]
    • 81 Metascore
    • 100 Critic Score
    Fascinating as it is, Matmos' complex creative process would be for naught if it didn't generate music you want to hear more than once. [Jul 2006, p.208]
    • 85 Metascore
    • 100 Critic Score
    Walker has gone as far into the atmosphere as one can travel while still being earthbound. [Jul 2006, p.210]
    • 75 Metascore
    • 100 Critic Score
    The real pleasure here is hearing what Jack White can do when he's away from the confines of the White Stripes. [Jul 2006, p.202]
    • 78 Metascore
    • 100 Critic Score
    For all the offbeat touches... Dawson's wide-eyed hope and wonder are the album's most affecting qualities. [Jun 2006, p.180]
    • 75 Metascore
    • 100 Critic Score
    City is a rare thing: a disc that reconciles a band's need for discovery with the familiar characteristics that define them. [Jun 2006, p.171]
    • 79 Metascore
    • 100 Critic Score
    Hot Chip strip down their influences, reworking scores of sound into new, distinctly original machinations. [Aug 2006, p.222]
    • 84 Metascore
    • 100 Critic Score
    One of the few albums that deserves its Pitchfork-generated hype. [Jul 2006, p.204]
    • 79 Metascore
    • 100 Critic Score
    Each of the dozen tracks on his debut is a fully realized vignette that makes a particular locale startlingly vivid. [Sep 2006, p.230]
    • 75 Metascore
    • 100 Critic Score
    Revelations is Muse's best work yet primarily because of the fluid balance it keeps between excess and restraint. [Aug 2006, p.220]
    • 88 Metascore
    • 100 Critic Score
    Yes, the journey is often challenging, but that's what makes it unforgettable. [Dec 2006, p.190]
    • 81 Metascore
    • 100 Critic Score
    Avatar is further proof that Comets On Fire are one of the most relevant bands of this decade. [Sep 2006, p.214]
    • 78 Metascore
    • 100 Critic Score
    Even if you can't fully grasp the disc's existential subject matter, Happy Hollow is still a pleasure on the ears. [Sep 2006, p.207]
    • 74 Metascore
    • 100 Critic Score
    This is the 25-year-old singer-songwriter at his most personal. [Oct 2006, p.208]
    • 85 Metascore
    • 100 Critic Score
    These guys sound like they don't even understand why punks and classic rockers drink at separate bars. [Nov 2006, p.198]
    • 82 Metascore
    • 100 Critic Score
    Hearing Blood Mountain in its entirety is like awaking from a coma to discover you have working ears. [Oct 2006, p.206]
    • 76 Metascore
    • 100 Critic Score
    Only time will accord the Bloods with the same kind of reverence given to such old-school avatars as Gang Of Four, Wire and Public Image Ltd. Wait and see. [Nov 2006, p.194]
    • 75 Metascore
    • 100 Critic Score
    One of the brightest and catchy offerings for Sub Pop all year. [Nov 2006, p.188]
    • 79 Metascore
    • 100 Critic Score
    The Black Parade is MCR's whole raison d'etre rolled up into one mega-decibel calling card. [Nov 2006, p.179]
    • 67 Metascore
    • 100 Critic Score
    Pussy Cats reveals facets of the Walkmen's personality that their originals haven't explored. [Dec 2006, p.189]
    • 72 Metascore
    • 100 Critic Score
    Saturday Night Wrist proves yet again that Deftones have a corner on the transcendental-metal market. [Dec 2006, p.192]
    • 66 Metascore
    • 100 Critic Score
    It seems that when you mix superstar indie-ites, everything is increased exponentially. [Dec 2006, p.190]
    • 78 Metascore
    • 100 Critic Score
    A quantum leap above not only Brand New's prior work... but beyond anything that any band in this scene are currently creating. [Jan 2007, p.129]
    • 76 Metascore
    • 100 Critic Score
    Reznor sets his machinery on "kill" and points it toward authority and herd mentality. [Jun 2007, p.158]
    • 66 Metascore
    • 100 Critic Score
    The Mars Volta have created the first great record of 2008. [Mar 2008, p.145]
    • 92 Metascore
    • 100 Critic Score
    Lost In The Sound Of Separation is truly 2008's first perfect record. [Sep 2008, p.145]
    • 70 Metascore
    • 100 Critic Score
    With Nothing, Manchester Orchestra have created what will ineveitably be regarded as one of the landmark releases of 2009, and more noticeable they've exceeded the hype that's surrounded them for nearly three years. [May 2009, p.109]
    • 85 Metascore
    • 100 Critic Score
    This is a test
    • 79 Metascore
    • 100 Critic Score
    Motion City Soundtrack have made the best album of their career and easily one of the best albums of 2010 or any other year. [Feb 2010, p.91]
    • 73 Metascore
    • 100 Critic Score
    Simple Math is a perfect interpretation of an imperfect man's life, and hopefully just another chapter in the larger story Manchester orchestra have yet to reveal. [Jun 2011, p.105]
    • 88 Metascore
    • 100 Critic Score
    We're all closer to comprehending, thanks to this absolutely brilliant piece of modern musical art. [Sep 2011, p.116]
    • 82 Metascore
    • 100 Critic Score
    It is as exciting and enthralling a listen as anything Thrice have ever created. [Oct 2011, p.105]
    • 81 Metascore
    • 100 Critic Score
    A sprawling, 17-song, 64-minute monster that is without a doubt the finest music these three artists--vocalist Hayley Williams, guitarist Taylor York and bassist Jeremy Davis--have ever made.
    • 87 Metascore
    • 100 Critic Score
    While some bands might try to ignore the pressure that comes with a raised profile, Touche seem to have embraced it, producing their most frantic, panicked, passionate and best album of their career. [Oct 2013, p.81]
    • 88 Metascore
    • 100 Critic Score
    It’s incredible just how good Dreyer is at making you connect with his characters, and how equally good his band are at backing him up.
    • 84 Metascore
    • 90 Critic Score
    His most winsomely loveless lyrics yet. [Oct 2002, p.92]
    • 78 Metascore
    • 90 Critic Score
    MMW charge brazenly past cries of Jimmy Smith worship into territory rarely covered by artists either acoustic or electric. [Jun 2002, p.80]
    • 70 Metascore
    • 90 Critic Score
    #1
    Points to a genius that should overtake the world of IDM like a funky tsunami. [Jul 2002, p.81]
    • 79 Metascore
    • 90 Critic Score
    A cohesive, 100-percent successful record. [Oct 2002, p.95]
    • 65 Metascore
    • 90 Critic Score
    A blissed-out menagerie of subtly morphing beats and elegant melodies within a dub framework. [Oct 2002, p.88]
    • 87 Metascore
    • 90 Critic Score
    With Cold House, Hood provide evidence that their time in the sun is long overdue. [Dec 2001, p.84]
    • 72 Metascore
    • 90 Critic Score
    Their best album to date. [Apr 2002, p.70]
    • 71 Metascore
    • 90 Critic Score
    May be Jackson's best work to date.... Playgroup is effortlessly retro, without sounding dated. [Apr 2002, p.80]
    • 73 Metascore
    • 90 Critic Score
    The fast parts are faster, the hard parts are harder, and the melodic sections are more memorable. [Oct 2001, p.102]
    • 85 Metascore
    • 90 Critic Score
    This is a dazzling and haunting disc. [Aug 2002, p.74]
    • 85 Metascore
    • 90 Critic Score
    Didn't It Rain may be simplistic compared to its more eclectic and haunting predecessor ['Ghost Tropic'], but it evokes the world-weary tones of Neil Young's 1970 masterpiece After The Gold Rush. [Jun 2002, p.86]
    • 83 Metascore
    • 90 Critic Score
    A frenetic, opaque masterpiece that ranks in the upper echelons of post-rock primacy. [Apr 2004, p.96]
    • 70 Metascore
    • 90 Critic Score
    Go Plastic fuses the insanely intricate beat programming of Feed Me Weird Things and Daddy with the abstruse experimentation of 1998's Music is Rotted One Note. It's the best of both worlds. [Aug 2001, p.98]
    • 77 Metascore
    • 90 Critic Score
    Creatures has a medieval majesty.... Yet such pastoral conjuring doesn't mean the band can't rock. [Aug 2002, p.82]
    • 77 Metascore
    • 90 Critic Score
    Unlike most of his contemporaries, singer-songwriter Gough is willing to explore all sorts of styles while allowing himself to be as playful or serious as he wants. [Dec 2002, p.74]
    • 75 Metascore
    • 90 Critic Score
    Consistently intriguing, haunting and above all, very good. [Dec 2001, p.94]
    • 75 Metascore
    • 90 Critic Score
    More often than not, Amnesiac finds a balance between twiddling and transcendence. [Jul 2001, p.79]
    • 74 Metascore
    • 90 Critic Score
    Radio 4 evoke the Clash, Wire, Les Savy Fav and neo-new wave, jamming epileptic rhythms with chunks of white noise to get a restlessly eclectic sound. [Jun 2002, p.82]
    • 80 Metascore
    • 90 Critic Score
    The most powerful, viscerally brutal album the quartet have released to date. [Sep 2001, p.100]
    • 56 Metascore
    • 90 Critic Score
    Deadsy's mix of electronics, death-metal distortion and lugubrious vocals offers something magnificently alien, yet familiar. [Jun 2002, p.69]
    • 77 Metascore
    • 90 Critic Score
    Better than its predecessor. [Dec 2003, p.150]
    • 91 Metascore
    • 90 Critic Score
    Delivers the goods in spades. [Nov 2001, p.94]
    • 79 Metascore
    • 90 Critic Score
    This Steve Albini-engineered masterpiece is destined to establish these 15-year vets as one of underground's strongest songwriting forces. [Aug 2002, p.83]
    • 90 Metascore
    • 90 Critic Score
    Alice is unique within Waits' unique discography, and it may be his most fully realized work. [Jul 2002, p.96]
    • 79 Metascore
    • 90 Critic Score
    Clinic have evolved from a set of brilliantly mixed parts into a distinctive whole to be reckoned with. [Apr 2002, p.71]
    • 62 Metascore
    • 90 Critic Score
    TA
    This, more than any of their releases to date, is an actual album. [Jun 2002, p.90]
    • 56 Metascore
    • 90 Critic Score
    A rewarding art-pop risk. [Dec 2004, p.148]
    • 84 Metascore
    • 90 Critic Score
    A melodic masterpiece of regret. [Oct 2003, p.122]
    • 74 Metascore
    • 90 Critic Score
    A great party record, pop-metal to a splendid degree. [Jan 2003, p.84]
    • 77 Metascore
    • 90 Critic Score
    The tracks on Steal come off as much more assured and comfortable than those on Toxicity. [Jan 2003, p.81]
    • 80 Metascore
    • 90 Critic Score
    Nears indie-pop perfection. [Feb 2003, p.70]
    • 84 Metascore
    • 90 Critic Score
    Smartly packaged pop that's as slick as Stereolab, but human enough--thanks to Coyne's earnestness and sincerity--to malfunction in all the right places. [Sep 2002, p.77]
    • 85 Metascore
    • 90 Critic Score
    It's Death Cab's slowest and most mature recording, and over time, hidden bits of magic reveal themselves brilliantly. [Nov 2003, p.98]
    • 64 Metascore
    • 90 Critic Score
    Feels like a jam session--bluesy keyboard lines and guitar riffs busk with soul-inflected harmonies, world-music percussion and complex, exotic rhythms. [Apr 2002, p.68]
    • 81 Metascore
    • 90 Critic Score
    Grooves with uptight downtown funk that's not just for beat freaks. [May 2002, p.88]
    • 79 Metascore
    • 90 Critic Score
    A righteous wallop of club-crawling, rave-slumming fun. [Oct 2002, p.83]
    • 81 Metascore
    • 90 Critic Score
    The more realized updates of [Her Majesty] that crowd out the backed of Picaresque reveal a wit so bizarre and vaudevillian beauty so ultimately endearing that by the end, Meloy's sprawling form of theatrical folk has us all. [Apr 2005, p.116]
    • 66 Metascore
    • 90 Critic Score
    Seamlessly picks up right where 2003's Transatlanticism left off. [Nov 2005, p.208]
    • 73 Metascore
    • 90 Critic Score
    A nearly flawless album full of rocking pop songs that sound instantly timeless. [Oct 2005, p.156]
    • 85 Metascore
    • 90 Critic Score
    The sextet take glitchy electronics, nerdy psychedelic rock and various forms of hip-hop to create a completely over-the-top concept album--and it works perfectly. [Dec 2006, p.208]
    • 80 Metascore
    • 90 Critic Score
    With this completely progressive and mature effort, it's clear that Barnes is one of indie rock's most gifted songwriters. [Feb 2007, p.115]
    • 76 Metascore
    • 90 Critic Score
    Their most accessible and uncompromising album.... !!! deftly balance adventurousness with fun--a potent combo that too few bands achieve. [Apr 2007, p.192]
    • 70 Metascore
    • 90 Critic Score
    There are no walls of distortion or crunching riffs; this time, they've traded all that for the beauty of Craig B.'s vocals and understated ambience. [Apr 2007, p.180]
    • 60 Metascore
    • 90 Critic Score
    That's why artists like RJD2 are important: They're brave, they're risk takers, and modern music needs more of them. [Apr 2007, p.192]
    • 79 Metascore
    • 90 Critic Score
    They've honed their sound perfectly, hitting every mark they set and making Because Of The Times kick so much ass that it demands you respect them as new rock royalty. [May 2007, p.152]
    • 83 Metascore
    • 90 Critic Score
    11 tracks that scorch the earth lesser bands traipse on. [May 2007, p.150]
    • 76 Metascore
    • 90 Critic Score
    Even in its darkest moments... [This Too] remains grounded in a beautiful humanity. [Mar 2007, p.136]
    • 77 Metascore
    • 90 Critic Score
    He rhymes like a champ. [Jun 2007, p.160]
    • 86 Metascore
    • 90 Critic Score
    At times, the effect is akin to hearing Tortoise and Animal Collective covering the Steve Reich and Devo catalogs in tandem; but such reference points barely do justice to an album that just halfway through 2007, is already topping the year's best-of list in multiple genres. [Jun 2007, p.151]
    • 82 Metascore
    • 90 Critic Score
    This album truely is a collection of gems. [Oct 2007, p.162]
    • 77 Metascore
    • 90 Critic Score
    The Go! Team's folluow-up is densely packed enough to make Phil Spector's Wall feel like a screen door. [Oct 2007, p.160]