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: 74
Highest review score: 100 Smother
Lowest review score: 20 If Not Now, When?
Score distribution:
  1. Negative: 7 out of 1831
1831 music reviews
    • 67 Metascore
    • 60 Critic Score
    The less they do big dumb bravado, it seems, the more there is to love about this London bunch.
    • 78 Metascore
    • 60 Critic Score
    The first four tracks of new album The Big To-Do are a solid continuation of the Truckers’ recent winning streak....But just as it seems clear we’ve got another rough-edged diamond on our hands, the album begins to wander at its mid-point.
    • 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
    Those glimpses on Perfect Symmetry of something flashier and sexier make this retreat to familiarity a somewhat saddening step backwards.
    • 69 Metascore
    • 60 Critic Score
    For the most part, though, the fuzz has been pulled back enough to reveal an enjoyable but hardly revolutionary set that tends to recall a more ponderous Darklands-era JAMC.
    • 49 Metascore
    • 60 Critic Score
    They sound like a pub soul covers band allowed to let rip on a few originals.
    • 85 Metascore
    • 60 Critic Score
    Ultimately Strange Mercy sounds like her best record still lies ahead, once she feels a little more at ease with balancing her obviously multiple talents.
    • 68 Metascore
    • 60 Critic Score
    For a record that could've gone in one of two directions, it manages the neat trick of going in both.
    • 68 Metascore
    • 60 Critic Score
    Whereas the finest music of this ilk goes full pelt with either ideas or loins, sometimes concurrently, Business Casual is, as its title suggests, the ultimate middle ground.
    • 73 Metascore
    • 60 Critic Score
    Beside Putrifiers II's guitar-fuelled thrills are a number of moments that find Thee Oh See's catching their winklepinkers on the pavement as they attempt to side step into more experimental, psychedelic territory.
    • 76 Metascore
    • 60 Critic Score
    If only there was more drama of this sort here, and a little less schmaltz, to bolster Ring's talent as an arranger and a producer.
    • 50 Metascore
    • 60 Critic Score
    What Good Charlotte don't seem to have picked up along the way are any startlingly new ways of delivering their honeyed ramalama pop-punk. Which could prove troublesome for them in the long run, now that the punk bubble has once again popped.
    • 69 Metascore
    • 60 Critic Score
    What scuppers Halcyon, though, is the sense that Ellie's still not nailed down her own identity. There's just too much bombast, and the magpie-like-production and big, booming arrangements swaddle rather than swathe her vocals.
    • 66 Metascore
    • 60 Critic Score
    If you've heard one track, you've heard them all. But there are a few standouts.
    • 61 Metascore
    • 60 Critic Score
    The good news is that one of the most consistently entertaining pop-rock bands of the 1990s is back together. The bad news is that the album they've released to mark their comeback isn't quite a classic.
    • 66 Metascore
    • 60 Critic Score
    They didn't want whatever their next album was to be predictable, and while A Thousand Suns might have emerged by accident compared to previous LPs, it's certainly a far from plays-to-perceived-type affair.
    • 58 Metascore
    • 60 Critic Score
    Style and gravitas are all very well--if Hurts could also have been consistent with the substance, Happiness would have trounced its 80s counterparts and many of its contemporaries, too.
    • 51 Metascore
    • 60 Critic Score
    These all-star gatherings are more fun for the artists than the listener.
    • 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.
    • 80 Metascore
    • 60 Critic Score
    It's incredibly pretty, but ultimately lacking in memorable moments.
    • 76 Metascore
    • 60 Critic Score
    Early trio Fembot, the single Dancing on My Own and Cry When You Get Older are scorchingly catchy, and laced with Robyn's familiar cordial of sparkling hook mixed with unutterable poignancy. The thing is, it's alarming when the first instalment of a trilogy houses so much filler.
    • 58 Metascore
    • 60 Critic Score
    Try as he might, Barat can run, to Europe and beyond, but he will always find it hard to hide from his past.
    • 78 Metascore
    • 60 Critic Score
    A frustratingly slow-burning listen.
    • 74 Metascore
    • 60 Critic Score
    Over-familiarity with Barnes' recent oeuvre aside, the material on False Priest just isn't as strong as the songs that comprise those other records.
    • 59 Metascore
    • 60 Critic Score
    Ultimately, Form & Control serves it purpose as a ready-made playlist for your next party, but perhaps the band's oversimplifying of its sound has stripped away some of its mystique in the process.
    • 68 Metascore
    • 60 Critic Score
    There's definitely a place for We Are Born in our post-Gaga pop landscape. The album's accessible tunes might not stand up to in-depth analysis, but they stand a good chance of lighting up cheesy club nights everywhere.
    • 66 Metascore
    • 60 Critic Score
    The Duke Spirit still sound like The Duke Spirit.
    • 61 Metascore
    • 60 Critic Score
    She's an undemonstrative talent, certainly, but there's understated to the point of blending into the background – which is where much of Orangefarben sounds disappointingly at home.
    • 72 Metascore
    • 60 Critic Score
    There's nothing tender here; clever it may be, but too clever for its own good.
    • 79 Metascore
    • 60 Critic Score
    It's not so certain that Cowley's taste-making always succeeds, despite the overall optimistic vitality of his tunes.