BBC Music's Scores

  • Music
For 1,831 reviews, this publication has graded:
  • 68% higher than the average critic
  • 4% same as the average critic
  • 28% lower than the average critic
On average, this publication grades 1.6 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Undun
Lowest review score: 20 If Not Now, When?
Score distribution:
  1. Negative: 7 out of 1831
1831 music reviews
    • 55 Metascore
    • 60 Critic Score
    While this is a confident and at times sharply written debut, there's little to suggest that Dog Is Dead bring anything new to the table.
    • 60 Metascore
    • 60 Critic Score
    As it is, it's simply the next Leona Lewis album.
    • 74 Metascore
    • 60 Critic Score
    What remains is an adequate compilation of nostalgic sounds, largely void of Clark’s unique voice. Greater consistency would have worked wonders.
    • 75 Metascore
    • 60 Critic Score
    Gem
    GEM is far from a masterpiece, but it's the work of an intriguing young artist still shaping a distinctive voice. It's hard to know if the pleasure is in listening to it, or imagining where she might go next.
    • 70 Metascore
    • 60 Critic Score
    As it stands, the rich resources Acheson has at his disposal are sadly compromised and the orchestra is indeed hidden rather than exposed.
    • 70 Metascore
    • 60 Critic Score
    For the most part this album, while as slickly produced as the classic pop it references, only faintly smoulders without igniting.
    • 72 Metascore
    • 60 Critic Score
    There's nothing tender here; clever it may be, but too clever for its own good.
    • 61 Metascore
    • 60 Critic Score
    The mixture of emotions across Unapologetic just doesn't sit right.
    • 65 Metascore
    • 60 Critic Score
    Such dark lyrical tropes have served him well in the past, and even the blokey-but-sensitive shtick of his lovably clunky, WTF rhymes are part of a well-honed musical formula. But credit where it's due--he provides something for everyone.
    • 80 Metascore
    • 60 Critic Score
    It's incredibly pretty, but ultimately lacking in memorable moments.
    • 65 Metascore
    • 60 Critic Score
    It's safe, something of a retreat from past endeavours to a sound more suited to commercial returns in the present.
    • 61 Metascore
    • 60 Critic Score
    If it were only possible to turn down the vocals, The No Testament would be a work of greater spiritual, and indeed secular, interest.
    • 72 Metascore
    • 60 Critic Score
    It feels rushed, like it needed more time for its many ingredients to blend.
    • 65 Metascore
    • 60 Critic Score
    While The Cast of Cheers are shameless rip-off merchants on more than some occasions here, there's evidently ability at work, and a decent ear for a catchy chorus or two.
    • 82 Metascore
    • 60 Critic Score
    Metheny’s use of it here delivers a pale, expensive shadow of what a real band can achieve. The project doesn’t feel like it has longevity, and this release is for the hardcore only.
    • 58 Metascore
    • 60 Critic Score
    You want the mix to jump and pound and excite. But it doesn’t, and the choruses feel hung out to dry. This makes for a frustrating listen, because the talent is there – damn, even the songs are there.
    • 62 Metascore
    • 60 Critic Score
    There’s no real ‘wow factor’ to Talé despite its star guests. But it’s a loveable enough effort.
    • 59 Metascore
    • 60 Critic Score
    This is a second album that genuinely builds upon its predecessor. Exile reinforces the feeling in modern pop that no other group sounds quite as hurt as Hurts.
    • 64 Metascore
    • 60 Critic Score
    It’s a mixed manifestation of electronic pop.
    • 78 Metascore
    • 60 Critic Score
    A frustratingly slow-burning listen.
    • 79 Metascore
    • 50 Critic Score
    This is an imbalanced record, and one that leaves you frustrated rather than elated. But despite the blips, they have dished up at least two cerebral bangers here.
    • 54 Metascore
    • 50 Critic Score
    Nick has a great pop voice--high and clear and strong. It isn’t a great rock voice though, and his desire to smash it into shape by spirited bellowing alone can curdle things, just as they should really start cooking.
    • 60 Metascore
    • 50 Critic Score
    Sadly, the songs here are slight and flimsy. Most of them sound like blink-and-you’ll-miss-it backing tracks for under-performing American drama series, pleasant and wholesome as a high-street sandwich, but instantly forgettable.
    • 68 Metascore
    • 50 Critic Score
    The fact that the climax comprises the closest thing to a substantial recording on the album is an indictment of a release that one suspects would not have made the stores had the Hendrix estate not wished to offer a bone to new label Sony following the end of their distribution deal with Universal.
    • 72 Metascore
    • 50 Critic Score
    Coconut’s acid-fried eclecticism occasionally strains for effect and lacks the brutish vigour of its predecessor. A commendably outré listen on any other terms, it’s still a sideways-shuffle that never fully convinces.
    • 47 Metascore
    • 50 Critic Score
    Expectedly inconsistent, Almost Alice is a great idea some distance short of being properly realised.
    • 58 Metascore
    • 50 Critic Score
    One wonders if those responsible for this platter of past-perishable pop mimicry, these clichéd regurgitations of ubiquitous motifs, are indeed the same Danes who wowed admirers of sparkly melodies and insatiable hooks only a single springtime equinox ago.
    • 68 Metascore
    • 50 Critic Score
    Buoyantly produced, it finds the singer leaning a little too comfortably on the conversational Georgia drawl of his baritone, and the writer coming up a little shy on the sort of detail and wordplay that lifts a cliche.
    • 56 Metascore
    • 50 Critic Score
    The lyrics mingle optimism and deliberate naivety, with even the downer moments coming across as exultantly miserable rather than genuinely forlorn. Rhodes is undoubtedly sincere, but maybe at the expense of potential humour and irony.
    • 68 Metascore
    • 50 Critic Score
    A serviceable but utterly derivative slice of twee electro-pop, the album quietly retreads the ground covered by Sufjan Stevens, The Postal Service and Frenchkiss labelmates Passion Pit, failing to form any identifiable shape of its own.