Alternative Press' Scores

  • Music
For 2,817 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 Vacation
Lowest review score: 0 Results May Vary
Score distribution:
2,817 music reviews
    • 60 Metascore
    • 30 Critic Score
    Tricky without edges and paranoia is freakin' dull. [Sep 2003, p.118]
    • Alternative Press
    • 68 Metascore
    • 30 Critic Score
    Half this record sounds like a field recording from a daycare play room. [Mar 2002, p.84]
    • Alternative Press
    • 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]
    • Alternative Press
    • 53 Metascore
    • 30 Critic Score
    One shudders to think how wack the rejects are. [Nov 2004, p.156]
    • Alternative Press
    • 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]
    • Alternative Press
    • 66 Metascore
    • 30 Critic Score
    Will make you thankful your stereo has an easily accessible off button. [May 2005, p.136]
    • Alternative Press
    • 57 Metascore
    • 30 Critic Score
    Basically, Odditorium sounds like a giant "fuck you" to [their] record label. [Nov 2005, p.218]
    • Alternative Press
    • 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]
    • Alternative Press
    • 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]
    • Alternative Press
    • 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]
    • Alternative Press
    • 56 Metascore
    • 30 Critic Score
    This is electronic by numbers. [Jun 2009, p.111]
    • Alternative Press
    • 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]
    • Alternative Press
    • 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]
    • Alternative Press
    • 65 Metascore
    • 30 Critic Score
    In the Grace of Your Love is lethargic and shapeless. [Oct 2011, p.109]
    • Alternative Press
    • 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]
    • 70 Metascore
    • 30 Critic Score
    The larger flaw of This Is All Yours is the excessive studio ornamentation attached to songs like "Choice Kingdom" and "Hunger Of The Pine" that fails to cover up unbalanced, disjointed writing. [Oct 2014, p.96]
    • Alternative Press
    • 41 Metascore
    • 20 Critic Score
    Since when is pairing Jewel's poetry outtakes with modern-rock riffs groundbreaking? [Aug 2003, p.102]
    • Alternative Press
    • 61 Metascore
    • 20 Critic Score
    Nauseatingly upbeat. [Oct 2003, p.138]
    • Alternative Press
    • 63 Metascore
    • 20 Critic Score
    Sounds like a teenage Faith No More at their first practice. [Sep 2003, p.116]
    • Alternative Press
    • 63 Metascore
    • 20 Critic Score
    Painfully pretentious, plodding, self-indulgent drivel. [Jun 2003, p.97]
    • Alternative Press
    • 61 Metascore
    • 20 Critic Score
    In one word: lackluster. In two words: dead boring. [Aug 2001, p.90]
    • Alternative Press
    • 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]
    • Alternative Press
    • 65 Metascore
    • 20 Critic Score
    Disastrous. [Oct 2004, p.144]
    • Alternative Press
    • 57 Metascore
    • 20 Critic Score
    Man, this thing sucks. [Oct 2004, p.146]
    • Alternative Press
    • 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]
    • Alternative Press
    • 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]
    • Alternative Press
    • 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]
    • Alternative Press
    • 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]
    • Alternative Press