Austin Chronicle's Scores

For 1,577 reviews, this publication has graded:
  • 40% higher than the average critic
  • 2% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 4 points lower than other critics. (0-100 point scale)
Average Music review score: 68
Highest review score: 100 Wincing The Night Away
Lowest review score: 20 Achtung Baby [Super Deluxe]
Score distribution:
1,577 music reviews
    • 67 Metascore
    • 30 Critic Score
    Effort isn't lacking, but inspiration is.
    • 63 Metascore
    • 30 Critic Score
    Maybe this is what passes for rebellion now -- a major label, videogenic looks, and VH1's stamp of approval -- but it equals undistinguished California rock and will probably sell a couple million.
    • 66 Metascore
    • 30 Critic Score
    Kweli's generic sounds belie the so-called revolutionary front of his lyrics.
    • 66 Metascore
    • 30 Critic Score
    Digital garnishment works for Wilco, but not so much for the beat-impaired Oberst.
    • 63 Metascore
    • 30 Critic Score
    It's tedious where there should be tension.
    • 76 Metascore
    • 30 Critic Score
    Those farty sounds and the guy with the deeeeeeeeeep voice on "It Overtakes Me" are called "bells and whistles." That's what bands do when they don't have anything to say.
    • 52 Metascore
    • 30 Critic Score
    Pharrell's all-too-shallow schtick becomes monumentally tired over the course of an entire album.
    • 78 Metascore
    • 30 Critic Score
    It's one thing to be eclectic; it's another thing entirely for an album to lack a cohesive conceit that connects one track to all the others.
    • 66 Metascore
    • 30 Critic Score
    Everything about The Cost is inflated and with little payoff, a blight for a band worth so much more.
    • 58 Metascore
    • 30 Critic Score
    50 sounds redundant.
    • 63 Metascore
    • 30 Critic Score
    Kings of Leon here depend on a major label production budget rather than hooks. Caleb Followill's nasal yelp remains totally disarming, but the stupidity of 'Sex on Fire' douses all credibility.
    • 72 Metascore
    • 30 Critic Score
    No Line on the Horizon reaches for "The Unforgettable Fire's" post-"War" reinvention but misfires this side of "Pop" without the songs.
    • 66 Metascore
    • 30 Critic Score
    'Cotopaxi' and 'Desperate Graves' are the Volta's most straightforward carbon-burners since Frances the Mute's 'Cygnus ... Vismund Cygnus' yet lack structure and memorable hooks, while the introductory ballad 'Since We've Been Wrong' soars closer to the Eagles than Led Zeppelin.
    • 60 Metascore
    • 30 Critic Score
    The Watson Twins have inherent and proven talent, but it hardly shows here.
    • 56 Metascore
    • 30 Critic Score
    The band's full-length debut, however, still turns up drier than Laurel Canyon. Like most of Modern Rituals, "Nothing's Wrong" because it was assembled piecemeal in Pro Tools, stiff and lifeless.
    • 70 Metascore
    • 30 Critic Score
    Oberst's voice trembles with the emotion of his youth, only ripped with spite instead of vulnerability. That solipsism has shifted to an even more detached universalism, which leaves little for the listener to connect with.
    • 71 Metascore
    • 30 Critic Score
    Based on this evidence, Cold Cave is merely the New Coke of New Wave.
    • 51 Metascore
    • 30 Critic Score
    Square-peg/round-hole pairings of the Kinkster and guests seldom jell as duets (Bruce Springsteen), but covers from Lucinda Williams ("Long Way From Home") and Jackson Browne ("Waterloo Sunset") make for choice B-sides.
    • 61 Metascore
    • 30 Critic Score
    What stands out are shallow hooks ("I Stand Alone"), disjointed memoirs ("Love Is Real"), and the painful lyrical repetition of "Girls Girls $" littering a nightclub-ready canvas. "Stop It."
    • 42 Metascore
    • 30 Critic Score
    Sure, there's Somethin 'Bout Kreay, but it's not good.
    • 53 Metascore
    • 30 Critic Score
    The onetime rapper's new foray into Lionism deviates so far from the norm that its proprietor's been edged out, melded into a nonconfrontational reggae singer whose drops can't muster a single memorable moment.
    • 59 Metascore
    • 30 Critic Score
    Fool Metal Jack looks at modern America with kaleidoscope eyes, but it's more bad parody than pastiche.
    • 71 Metascore
    • 30 Critic Score
    Ultimately, The Civil Wars plays out lyrically insipid and completely oblivious to the fact that their vocals strive for meaningful but define overbearing.
    • 51 Metascore
    • 20 Critic Score
    Bogged down by Meth's lackadaisical approach and reliance on guest appearances, Tical 0: The Prequel falls flat on its befuddled front.
    • 64 Metascore
    • 20 Critic Score
    Unlistenable, grade-A manure.
    • 60 Metascore
    • 20 Critic Score
    A nearly unlistenable, shiny mess of weepy college rock.
    • 72 Metascore
    • 20 Critic Score
    All filler, no killer.
    • 56 Metascore
    • 20 Critic Score
    Save for Lyfe Jennings' refreshing cues on 'Hood Star,' there's nothing original about Last.
    • 70 Metascore
    • 20 Critic Score
    The remainder of the 16-song, hourlong question mark is emphatic spoken word hurled over a sound check--pretentious, superfluous, and ultimately unlistenable.
    • 71 Metascore
    • 20 Critic Score
    Duffy's the Clay Aiken of nuevo "soul."
    • 93 Metascore
    • 20 Critic Score
    An alternate and/or nascent mix of Achtung Baby not only doesn't add to the dialog, it perhaps subtracts from it.
    • 74 Metascore
    • 20 Critic Score
    The point of psych is that drugs enhance the musical experience, but only 16 hits of trucker speed could focus this droney mess.