Alternative Press' Scores

  • Music
For 2,657 reviews, this publication has graded:
  • 63% higher than the average critic
  • 2% same as the average critic
  • 35% 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 The Drift
Lowest review score: 0 Results May Vary
Score distribution:
2,657 music reviews
    • 60 Metascore
    • 30 Critic Score
    Tricky without edges and paranoia is freakin' dull. [Sep 2003, p.118]
    • 68 Metascore
    • 30 Critic Score
    Half this record sounds like a field recording from a daycare play room. [Mar 2002, p.84]
    • 65 Metascore
    • 30 Critic Score
    Patton's latest fantasy-headache is a one-song, 55-minute conceptual misfire that careens from acid-casualty chamber music to high-velocity cartoon metal. [Feb 2004, p.82]
    • 53 Metascore
    • 30 Critic Score
    One shudders to think how wack the rejects are. [Nov 2004, p.156]
    • 72 Metascore
    • 30 Critic Score
    12 tracks that are so feeble and lifeless, it's actually painful to put effort into reviewing them. [Jun 2005, p.160]
    • 66 Metascore
    • 30 Critic Score
    Will make you thankful your stereo has an easily accessible off button. [May 2005, p.136]
    • 57 Metascore
    • 30 Critic Score
    Basically, Odditorium sounds like a giant "fuck you" to [their] record label. [Nov 2005, p.218]
    • 78 Metascore
    • 30 Critic Score
    It's not that Elbow's half-Travis, half-early-Radiohead Britpop shoegaze routine is patently shitty; it's just hopelessly forgettable. [Mar 2006, p.134]
    • 51 Metascore
    • 30 Critic Score
    Candy Ass is a mess, drifting without a rudder between half-baked folk and warmed-over electronica. [Feb 2006, p.120]
    • 48 Metascore
    • 30 Critic Score
    The songs feature countless tired hip-pop cliches: gratuitous scratching, tinny programmed beats, burbling keyboards and faux-sexy lyrics. [Mar 2008, p.147]
    • 56 Metascore
    • 30 Critic Score
    This is electronic by numbers. [Jun 2009, p.111]
    • 60 Metascore
    • 30 Critic Score
    Orchestral additions are cool, but here they dominate both in terms of volume and notes-per-minute, transforming potentially aristocratic black metal like "The Cult Of Venus Aversa" and "War" into poorly layered sonic slop. [Dec 2100, p.111]
    • 55 Metascore
    • 30 Critic Score
    It's a shame that there's so little of note on Free, because Gil Norton's production is fantastic as usual. But bless his heart, it's ultimately a wasted effort.
    • 70 Metascore
    • 30 Critic Score
    One-man synth-pop act Ernest Greene's singing lacks firm consonants and dribbles out unintelligibly most of the time over the most compelling of his stripped-down electronic compositions. [Aug 2011, p.122]
    • 65 Metascore
    • 30 Critic Score
    In the Grace of Your Love is lethargic and shapeless. [Oct 2011, p.109]
    • 72 Metascore
    • 30 Critic Score
    Heady Fwends has racked up about one song's worth of decent material-only none of it is in the same song.
    • 64 Metascore
    • 30 Critic Score
    Nearly everything that made Fitz And The Tantrums interesting has been thrown out the window for More Than A Dream. Fitzpatrick has run out of anything interesting to say, instead relying on awful cliches. [Jun 2013, p.96]
    • 41 Metascore
    • 20 Critic Score
    Since when is pairing Jewel's poetry outtakes with modern-rock riffs groundbreaking? [Aug 2003, p.102]
    • 61 Metascore
    • 20 Critic Score
    Nauseatingly upbeat. [Oct 2003, p.138]
    • 63 Metascore
    • 20 Critic Score
    Sounds like a teenage Faith No More at their first practice. [Sep 2003, p.116]
    • 63 Metascore
    • 20 Critic Score
    Painfully pretentious, plodding, self-indulgent drivel. [Jun 2003, p.97]
    • 61 Metascore
    • 20 Critic Score
    In one word: lackluster. In two words: dead boring. [Aug 2001, p.90]
    • 60 Metascore
    • 20 Critic Score
    The lyrics on Folker make the tripe in Westerberg's early solo material... read like T.S. Eliot. [Oct 2004, p.144]
    • 65 Metascore
    • 20 Critic Score
    Disastrous. [Oct 2004, p.144]
    • 57 Metascore
    • 20 Critic Score
    Man, this thing sucks. [Oct 2004, p.146]
    • 65 Metascore
    • 20 Critic Score
    The guitars are processed into high-tech oblivion, and every song is eight minutes long when it should be five. [Aug 2003, p.100]
    • 70 Metascore
    • 20 Critic Score
    Plays out like a tepid, second-rate version of Iowa, which pretty much makes it a third-rate anything else. [Jul 2004, p.142]
    • 50 Metascore
    • 20 Critic Score
    There's not much left for the Vines' frontman other than his music, which on Winning Days seems more like an afterthought--if not the work of an unbearably bad Oasis record. [Apr 2004, p.98]
    • 63 Metascore
    • 20 Critic Score
    As singer-songwriters go, Barlow's not worthy to make a Starbucks run for Conor Oberst, Jim White, Joseph Arthur or Chris Carrabba. [Mar 2005, p.122]
    • 47 Metascore
    • 20 Critic Score
    Hotel is all vacancy. [Apr 2005, p.128]