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
    • 66 Metascore
    • 60 Critic Score
    It's a colourful grab-bag, but Zimmerman's ear for stock clubland dynamics means that while 4x4=12 barely breaks sweat whomping the listener into submission, it also stops way short of revealing the man behind the mask.
    • 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.
    • 66 Metascore
    • 60 Critic Score
    There was a question mark over whether Hamilton's muse would have been better served by adopting a new moniker to go with this band. It's not a question of him stepping away from an impressive legacy, rather giving him the freedom to fully explore his creative urges.
    • 66 Metascore
    • 60 Critic Score
    The first half of Trespassing offers a smorgasbord of succulent up-tempo pop. There are a couple of derivative cuts, but the highlights are tasty enough to compensate.... The album's second half is less entertaining.
    • 66 Metascore
    • 60 Critic Score
    If you've heard one track, you've heard them all. But there are a few standouts.
    • 66 Metascore
    • 60 Critic Score
    Just Tell Me presents 17 cover versions of differing quality which don't gel as a cohesive listen, but it's not without standout interpretations.
    • 66 Metascore
    • 60 Critic Score
    It's not that Gainsbourg is swallowed up by her band, more that she doesn't – or can't – rise to the occasion as a natural singer can... It still charms, though.
    • 66 Metascore
    • 60 Critic Score
    This album’s calling card, Sea Change, starts so well that the rest of the album fades in its shadow.
    • 66 Metascore
    • 60 Critic Score
    It's a warming blanket of an album, here for you to wrap up in. However, beneath an enchanting surface there's not much to warrant being played over and over again.
    • 65 Metascore
    • 60 Critic Score
    Leaves listeners sadly wondering where a less-troubled Amy might have been able to take her incredible talent.
    • 65 Metascore
    • 60 Critic Score
    She places faith in unremitting earnestness. It's often affecting, and draws you in at times, but somewhat smothering in its unrelenting glumness. There's also a paucity of fresh melodies here. This profoundly personal album is unlikely to woo passers-by, but loyal, long-time admirers will adore it.
    • 65 Metascore
    • 60 Critic Score
    When Melua reveals this sensitive side she's amongst the best artists in her easy-on-the-ear field, and she could yet surpass several of her own idols. But The House contains enough forgettable filler to suggest she's some way off delivering a career-defining canon classic.
    • 65 Metascore
    • 50 Critic Score
    They're too bland, too safe and too boring.
    • 65 Metascore
    • 50 Critic Score
    While Court Yard Hounds is a well-packaged and produced collection, its songs seem rather ordinary compared to Chicks material
    • 65 Metascore
    • 50 Critic Score
    While it lacks focus and cohesive identity, the album Paul Banks named after himself does demonstrate that there's more to this artist than previous form suggests
    • 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.
    • 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.
    • 65 Metascore
    • 40 Critic Score
    It comprises 11 tracks that sound like intros in search of songs. It is bland of lyric and tinny of sound. The rhythms plod alarmingly.
    • 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.
    • 64 Metascore
    • 60 Critic Score
    Inevitably, this turns Here I Am into a bit of a grab-bag in its latter stages, but it's a grab-bag that only Tulisa Contostavlos could claim not to find some pleasure in.
    • 64 Metascore
    • 60 Critic Score
    The sterility and cleanliness of [the album's engineering and production] affords these 12 songs all the warmth and personality of a motorway hotel's car park.
    • 64 Metascore
    • 50 Critic Score
    Sadly though, the prevalence of mid-tempo, Des'ree-lite ballads and inconsistent quality make this is an exhausting listen over 90 minutes.
    • 64 Metascore
    • 60 Critic Score
    It’s a mixed manifestation of electronic pop.
    • 64 Metascore
    • 50 Critic Score
    The mid-section lets him down, slumping into the bad habits of his debut solo album.
    • 64 Metascore
    • 60 Critic Score
    [Welcome to the Fishbowl] is aimed squarely at the mainstream. These songs are genetically engineered to be both supremely catchy and intensely wet.
    • 64 Metascore
    • 60 Critic Score
    Portamento is simplicity redux, to the point of composing songs that sound too alike, and too like the last album.
    • 64 Metascore
    • 60 Critic Score
    If you're drawn to Battles' nimble melodic turmoil and general musical messiness, you may find some of these electro excursions to be hard work.
    • 64 Metascore
    • 40 Critic Score
    Like Simple Minds, it's not too late for OMD to stride all the way back to greatness. But this album isn't even a stumble in the right direction, and the clock, as always, is ticking.
    • 64 Metascore
    • 50 Critic Score
    Familiar tropes surface in the lyrical content (sexy times being the core focus), and musically it's a smorgasbord of European dance trends and contemporary RnB production, showy but soulless.
    • 63 Metascore
    • 40 Critic Score
    For a listener who's only been aware of Mraz by reputation, this is no instant-fix point of entry. It relies on past experiences, knowledge of what the artist is capable of rather than anything he delivers with consistency across these 12 songs.