Austin Chronicle's Scores

For 1,803 reviews, this publication has graded:
  • 41% higher than the average critic
  • 3% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 3.5 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Ramones [40th Anniversary Deluxe Edition]
Lowest review score: 20 Luminous
Score distribution:
1803 music reviews
    • 67 Metascore
    • 40 Critic Score
    As tight and well-rehearsed as any camp band, the Kids' real magic lies in their unsullied embrace of 1960s pop and garage rock with a modern teen sensibility.
    • 71 Metascore
    • 40 Critic Score
    Dour, divine, depressed, the Liverpudlian of The Apple Years 1968-75 wears many moods between Krishna rock and "Ding Dong, Ding Dong" roll.
    • 80 Metascore
    • 40 Critic Score
    Without co-star Alison Krauss or marquee Texan producer T Bone Burnett, Robert Plant's latest solo outing suffers the expected sequel slump.
    • 82 Metascore
    • 40 Critic Score
    Six years later, the New York trio's third LP, It's Blitz!, is only as subversive as its cover image.
    • 70 Metascore
    • 40 Critic Score
    Even at their best, Quasi can be like the same magic trick performed over and over. At first, it's marvelous and mysterious, yet with each successive time less so, until eventually you figure out how the whole thing is done and lose interest altogether.
    • 84 Metascore
    • 40 Critic Score
    All in all, though, Medúlla is far too busy. Even when you're experimenting, the less-is-more rule still applies.
    • 72 Metascore
    • 40 Critic Score
    [A] black hole.
    • 71 Metascore
    • 40 Critic Score
    [Elton John] eschews formulaic pop for the stripped barroom noir of "Oscar Wilde Gets Out" and church hymn "A Town Named Jubilee." All too soon, though, "My Quicksand," which would be a perfect Rufus Wainwright vehicle, sinks overwrought while drawing the disc's Maginot Line. Only the Eighties-esque "Can't Stay Alone Tonight" rallies after that.
    • 63 Metascore
    • 40 Critic Score
    Full-length Vice debut and second LP Descending Shadows has some good songs ("Paranoia," "Zip My Lip"), but it's no big stretch from Dead Moon's formula.
    • 62 Metascore
    • 40 Critic Score
    It's a process, not a product--frustratingly inarticulate when it matters most.
    • 68 Metascore
    • 40 Critic Score
    She's certainly eyeing global pop domination. Therein lies Maya's conflict.
    • 77 Metascore
    • 40 Critic Score
    Wise Up Ghost, more compelling in theory than practice.
    • 71 Metascore
    • 40 Critic Score
    The Vancouver octet layers lavish string arrangements and huge group choruses over its trademark, idiosyncratic power-pop, smothering the listener in the process.
    • 75 Metascore
    • 40 Critic Score
    It's a tumbler, a series of good thoughts that get lost in development.
    • 72 Metascore
    • 40 Critic Score
    It's half-baked as well, never distinguishing itself from other rock & roll throwbacks.
    • 58 Metascore
    • 40 Critic Score
    The vocals long to break out of their high-flitting preciousness, and despite the polish of the production, the album as a whole seems unable to wrangle its various impulses, revealing ONOM trying to move beyond the dated charm of their debut but not quite sure where to go.
    • 71 Metascore
    • 40 Critic Score
    Grounded in the fertile terrain of terminal relationships, the warm, unadorned album comes undone by undercooked songwriting.
    • 60 Metascore
    • 40 Critic Score
    Ms Mr shows off good ideas, but they'll need to focus a little less on digital presentation and more on songwriting.
    • 72 Metascore
    • 40 Critic Score
    We're treated to a blissful numbness, which is perfect for those who came here for the whacked out waveforms.
    • 84 Metascore
    • 40 Critic Score
    It's the Ting Tings amplified past 11, and the two never stray far from the formula.
    • 62 Metascore
    • 40 Critic Score
    Frontman Alex Ebert shoots more sincerity with the sophomore effort, which paradoxically results in a set that feels about as authentic as his previous Ima Robot persona.
    • 65 Metascore
    • 40 Critic Score
    The camp is layered on thick, just as it always was, yet this time it crosses the thin line these electro pioneers once walked with ease.
    • 69 Metascore
    • 40 Critic Score
    The touches of old Tori ("Girl Disappearing," "Body and Soul") are fairly solid, but most often she gets lost in her mental "posse."
    • 69 Metascore
    • 40 Critic Score
    Between her sweet and his sour, there should be a whole lot more shaking going on, but instead it's like they keep coming out of the dressing room with the same hat on.
    • 80 Metascore
    • 40 Critic Score
    It all goes down like kung pao chicken and Sapporo, but you'll be at Church's in an hour.
    • 66 Metascore
    • 40 Critic Score
    Room Noises is the perfect escape for girls who've outgrown their My Little Ponies but aren't quite prepared for more adult outlets of expression, and that of course is its downfall.
    • 61 Metascore
    • 40 Critic Score
    The album plays toward the Black Keys' ethos, but Shakedown never gains its footing.
    • 71 Metascore
    • 40 Critic Score
    Concrete is gritty but so watered down by contemporary Nashville arrangements that nothing sticks.
    • 84 Metascore
    • 40 Critic Score
    Yoshimi has its moments, but it sounds like leftover brilliance from its older, better brother, padded out with filler to make a new album.
    • 74 Metascore
    • 40 Critic Score
    While Mr. Beast may not sound as fine Happy Songs... or Rock Action, it no doubt kicks ass live.