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 1.8 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 What's Going On [40th Anniversary Edition]
Lowest review score: 20 If Not Now, When?
Score distribution:
  1. Negative: 7 out of 1831
1,831 music reviews
    • 59 Metascore
    • 70 Critic Score
    The broad, stuttering beats do fatigue the listening experience eventually, but music this animated and unrelenting demands a very specific ear in a very specific setting.
    • 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.
    • 59 Metascore
    • 90 Critic Score
    For the flagrant pop thrill-seeker--judging by this incredible, irrepressible, ecstatic, brilliant record--neither will they ever disappoint. Don't believe the anti-hype: pop album of the year, by at least a dozen choruses.
    • 59 Metascore
    • 70 Critic Score
    Not quite yet the coherent full album that its time in the making hinted at, but nonetheless a welcome addition to record collections.
    • 59 Metascore
    • 80 Critic Score
    Their most coherent, alive and plain best album yet.
    • 59 Metascore
    • 60 Critic Score
    La Liberación is so fixated on exhibiting its sense of fun that it forgets how to finish ideas in the process.
    • 59 Metascore
    • 60 Critic Score
    "Quite listenable" sums up most of Future History.
    • 59 Metascore
    • 70 Critic Score
    As a transitional release, however, Night Train points to an even bigger and brighter future: it mostly sounds like a band happy to enjoy the freedom of chalking up 10 million album sales, and everyone else can take a running jump.
    • 59 Metascore
    • 50 Critic Score
    Though not without its charms, Endlessly is too slight and uneven to impress unconditionally.
    • 59 Metascore
    • 40 Critic Score
    Hollywood Undead are content to deliver cliches--more out of a lack of imagination than cynical opportunism, but it still smacks of both. That's why to seasoned ears or any genre fan requiring more than more of the same, they're very, very boring.
    • 59 Metascore
    • 50 Critic Score
    The lyrics aren't the only thing holding EFUNK back: Soul Clap's chugging pace drags on the heels of their most anthemic numbers.
    • 59 Metascore
    • 50 Critic Score
    ANNA is strategic in its experimentation, but represents a fairly dramatic departure from its makers’ brand, so hats off to that.
    • 59 Metascore
    • 70 Critic Score
    Flamingo will keep the fans from growing rabid while The Killers take a break, but if Flowers releases another solo album before reconvening with his colleagues, teeth might well be bared.
    • 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.
    • 59 Metascore
    • 50 Critic Score
    On the whole, Collections is a misfire and proof that, sometimes, re-inventing the wheel doesn't always reap rewards.
    • 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.
    • 58 Metascore
    • 60 Critic Score
    It is, essentially, a pop record to stick on and sing along to. If that was Kassidy's aim, to have fun and make people dance, they've undoubtedly succeeded. But don't come looking here for anything more profound than that.
    • 58 Metascore
    • 40 Critic Score
    Blue Slide Park ends up a charm-bereft everyman hip hop record merely ticking boxes required to shift units.
    • 58 Metascore
    • 80 Critic Score
    U2 producer Flood marshals the band's bulldozing energy into an altogether slicker sort of bombast, and admittedly there are moments (Dream Dream Dreaming and the seemingly endless build-up of Lots Sometimes) where the songs sound in danger of losing their way in the middle of it all.
    • 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.
    • 58 Metascore
    • 70 Critic Score
    This is a charmingly youthful and exuberant album, featuring a fine selection of vocalists.
    • 58 Metascore
    • 70 Critic Score
    Although this statement sounds very much from the heart, and many of these songs make you smile while other make you sour, it’s a shame that this album’s playfulness very often comes across as pretentiousness.
    • 58 Metascore
    • 70 Critic Score
    Better Living, Flats' 34-minute debut album, is a commendably cacophonous outpouring which contains not the slightest germ of future commercial gold.
    • 58 Metascore
    • 80 Critic Score
    Bad Blood is a really gratifying debut that feels like a solution.
    • 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.
    • 58 Metascore
    • 70 Critic Score
    Get these cuts [I'll Never Let Go and Called Out In The Dark] out of the way, though, and Fallen Empires settles down and improves.
    • 58 Metascore
    • 60 Critic Score
    Whether Goodbye Lullaby was all a tad over thought, or whether she's just holding back, the finished product falls significantly short of Avril Lavigne's own capabilities.
    • 58 Metascore
    • 70 Critic Score
    Too patchy to warrant genuflection just yet, thanks should nevertheless be given for the exquisite moments that Young the Giant serve here.
    • 58 Metascore
    • 60 Critic Score
    At times Credo sounds like The Human League of today trying to be The Human League of the past, which makes for uncomfortable listening. That said, it's probably still better than it has any right to be, given the time between the group's hits and their missing out on chart positions nowadays.
    • 58 Metascore
    • 70 Critic Score
    It's the contrast between these points--the brilliantly familiar and the boldly flawed--that ensures I Love You, Dude stays on the right side of lazy revivalism.