Beats Per Minute (formerly One Thirty BPM)'s Scores

  • Music
For 843 reviews, this publication has graded:
  • 70% higher than the average critic
  • 3% same as the average critic
  • 27% lower than the average critic
On average, this publication grades 2.5 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 Nevermind [20th Anniversary Edition]
Lowest review score: 18 If Not Now, When?
Score distribution:
  1. Negative: 13 out of 843
843 music reviews
    • 100 Metascore
    • 100 Critic Score
    Ultimately, the legacy Pinkerton leaves behind is it being one of the most emotional and raw albums ever made. It's an album that many can relate to, even if you're not on the same level of crazy as Rivers was back then.
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    • 94 Metascore
    • 100 Critic Score
    Comparing him to other rappers is pointless: there are other guys with much more technically-sound flows (although Ye is as wickedly funny as he's ever been), but nobody else possesses the combination of hubris, imagination, neuroticism, and drive it takes to make a record like this.
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    • 93 Metascore
    • 100 Critic Score
    Time has only been kind to Life's Rich Pageant, and, hopefully, not much more time will be required to it to take its place in the rock and roll canon as the practically perfect album that it is.
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    • 89 Metascore
    • 100 Critic Score
    One of those rare, near-flawless works of art that only grows finer with age.
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    • 96 Metascore
    • 100 Critic Score
    Somehow, allowing it its true moment on the shelves has solidified the record's historical importance.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 93 Metascore
    • 100 Critic Score
    The bonus material on discs five and six of the box set (which also includes Achtung Baby's severely underrated 1993 follow-up Zooropa and two pointless discs of remixes that likely won't be of much use even to die-hards) only serve to illuminate how much had to go right for the album to be as good as it was.
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    • 83 Metascore
    • 97 Critic Score
    No one's asking bigger questions of himself or more from himself in music than Flying Lotus is. These records are the only appropriate answers and Until The Quiet Comes is his most accomplished yet.
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    • 85 Metascore
    • 94 Critic Score
    Fleet Foxes have become a band who will not stop pushing, who will challenge themselves to avoid stagnancy, who will work with both their instruments and their minds. Because of that, the audience is able to reap the fruit and feast on it together.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 75 Metascore
    • 93 Critic Score
    Both Ways Open Jaws will strike you as both new sounding and classic, as both fresh and rooted in tradition. Most importantly, it will strike you as a treasure, and probably, as the best album you have heard in a long time.
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    • 84 Metascore
    • 92 Critic Score
    If, as the artist himself has recently hinted, Kaputt really does mark the end of Destroyer, then it succeeds as a triumphant swan-song.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 86 Metascore
    • 92 Critic Score
    Fucked Up actively refuse any sort of definition, and David Comes To Life proves that they're more than capable of shouldering that burden.
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    • 92 Metascore
    • 92 Critic Score
    Sunbather is a future classic, no matter where you pigeonhole it, and that’s the mark of a true sonic masterpiece. Black metal, not black metal, just call it what it is: perfect.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 81 Metascore
    • 91 Critic Score
    Burst Apart is full of wonderful little surprises like this, that add up to two big ones: that The Antlers didn't try to follow up Hospice by repeating themselves, and nevertheless, that they have delivered a more than worthy successor.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 77 Metascore
    • 91 Critic Score
    There is the obvious notable contrast between Roberts' blunt delivery and the lushly treated instrumentation. But there's a pillowy negative space between all the divergent aesthetics that creates a resounding heft and felt resonance.
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    • 83 Metascore
    • 91 Critic Score
    Shabazz Palaces have pushed the music forward, so that it once again can be raw, real, and unconventional.
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    • 80 Metascore
    • 91 Critic Score
    It's bold, cathartic, and essential; a candidate for not only one of 2012's best, but one of the most important records in all of American soul.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 92 Metascore
    • 91 Critic Score
    In addition to being one of the year's most soberingly bleak R&B releases, Channel Orange is also one of the prettiest.
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    • 75 Metascore
    • 91 Critic Score
    Centipede Hz is dense and unforgivingly full-throttle--you'll find no "Loch Raven" or even "Chores" here – and home to some of the band's best and most involved lyrics to date.
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    • 79 Metascore
    • 90 Critic Score
    Though he can be likened to a number of classic singers, some of the all-time greats might I add, his work is his own and ultimately original in its identity.
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    • 86 Metascore
    • 90 Critic Score
    A dimly lit, lo-fi hybrid, Shake takes its cue from some of Harvey's most successful past works, but has its own uniquely brash textures.
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    • 77 Metascore
    • 90 Critic Score
    All Eternals Deck is as obvious in its quality as Darnielle is obvious in his earnestness.
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    • 77 Metascore
    • 90 Critic Score
    The results are just about as great as expected. Perhaps more than ever, the rapper paints the world of the faded, the dense and the spacey are a labyrinth for Curren$y's creation.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 78 Metascore
    • 90 Critic Score
    The Rip Tide, though, never bursts at the seams, and never feels too slight. Each number in the collection packs weight, and repeat listenings allow all nine to unfold their unique beauty.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 85 Metascore
    • 90 Critic Score
    These tracks are sparse but airtight, haunting but unrelentingly gorgeous, both logical successors to the stunning second half of Aerial and completely unlike anything she's done.
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    • 81 Metascore
    • 90 Critic Score
    It's all dizzying and overwhelming, but the sheer brute strength of The Money Store stays tempered by a pervasive, unbridled sense of creativity.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 86 Metascore
    • 90 Critic Score
    Ram's 2012 reincarnation sounds impeccable. Though the bonus tracks don't pack much punch, the LP's dozen original cuts, crowned by the breakthrough sensation "Uncle Albert / Admiral Halsey," arguably make this LP McCartney's seminal solo effort.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 87 Metascore
    • 90 Critic Score
    Just be thankful that the new Swans are as clever, as terrifying, and as proficient in their craft as presented on The Seer.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 86 Metascore
    • 90 Critic Score
    It's a thoughtful and meditative affair with a meaningful and felt collaboration at its core.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 87 Metascore
    • 90 Critic Score
    Whether approached with the utmost skepticism or the most fervent zeal, m b v proves itself not merely a reputable album, but a spectacular and unforgettable experience.
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    • 85 Metascore
    • 90 Critic Score
    If any record of this relatively young year demands your full attention then Shaking the Habitual is it, as it opens up as a vast chasm of unexpected possibilities, and despite any possible subconscious misgivings, you’ll immediately want to jump in without thinking twice.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 84 Metascore
    • 90 Critic Score
    Excavation is vivid and physical, each moment meticulously and purposefully crafted.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 81 Metascore
    • 90 Critic Score
    Here, Lopatin excels at what he’s been doing since his first release as Oneohtrix Point Never, and what first brought us to him: drawing feeling out of the digital realm, instead of just channeling it.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 80 Metascore
    • 89 Critic Score
    This is why Dye It Blonde is truly a success: the band have moved from the garage noise-rock sound to a much more atmospheric one wherein the noise is harnessed into multiple layers of melodic instrumentation.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 78 Metascore
    • 89 Critic Score
    With Ritual Union, the band forges their own path and does not take the easy way out.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 81 Metascore
    • 89 Critic Score
    It is the bravery of the album that is its greatest triumph.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 83 Metascore
    • 89 Critic Score
    Open Your Heart is incredibly intricate and technically masterful.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 85 Metascore
    • 89 Critic Score
    The resulting album is one that is deceptively simple, a send-up to the aggressive cultural awareness of old-school rap on the surface, filtered through a hundred different post-apocalyptic scenarios, musical and lyrical.
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    • 80 Metascore
    • 89 Critic Score
    There is so much to both genuinely appreciate and enjoy on Swing Lo Magellan that it makes you wonder why these have to sometimes be exclusive ways to experience an album.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 76 Metascore
    • 89 Critic Score
    I Know What Love Isn't is more than a great pop album – it's the most singularly rewarding statement from one of the more uniquely gifted songwriting voices of the past decade.
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    • 78 Metascore
    • 89 Critic Score
    The album is a widening and a deepening of the style we've come to expect of Walker – but it's also got elements of a brightening of that sound as well.
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    • 80 Metascore
    • 88 Critic Score
    The material here is as strong as we've come to expect from this band, but its pleasures aren't nearly as surface-level as even Kid A's. The best way to judge The King of Limbs in the long run may simply be to hope someone spurs Radiohead on in this direction.
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    • 86 Metascore
    • 88 Critic Score
    It makes its own statement, and it does so with the level of maturity and succinctness that we've come to expect from Hecker, an artist who has well earned his place as a leader amongst his peers.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 83 Metascore
    • 88 Critic Score
    Yeah, Gang Gang Dance's idea of accessible and pop-ready is just as trippy and emotionally affecting as ever. Now, you can play it in the car on a Friday night, too.
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    • 79 Metascore
    • 88 Critic Score
    It's dark but inspirational, catchy but never kitschy. Most of all though, it's honest.
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    • 79 Metascore
    • 88 Critic Score
    Biophilia is Björk, the sum total, and this album is her continued claim to the throne as the monarch of avant-pop.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 88 Metascore
    • 88 Critic Score
    Bad As Me is yet another sensational landmark on the long, well-traveled path of a man who simply refuses to age.
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    • 77 Metascore
    • 88 Critic Score
    This is a great pop-rock album because it doesn't feel the need to be anything else.
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    • 80 Metascore
    • 88 Critic Score
    With a heavier reliance on piano and this newer emphasis on these samples, it's an astounding achievement in a young career already marked by solid works.
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    • 79 Metascore
    • 88 Critic Score
    It's definitely a taxing listen. But it's also one of the most cohesive and powerful records to come around in a long time, and it doesn't tire after multiple spins.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 78 Metascore
    • 88 Critic Score
    Anxiety matches the emotional heights and immediacy of the music Ashin was inspired by, but what arrives from his limitations--as a singer, as a DIY-ist--adds to the record a personal foundation and raw authenticity no amount of budget could erect.
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    • 84 Metascore
    • 88 Critic Score
    If there’s anything Mr. West finds completely alien to his person, it’s restraint, and Yeezus is the perfect, chaotic, and ultimately uncompromising dive into this world.
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    • 80 Metascore
    • 88 Critic Score
    Though it’s hardly labyrinthine--these songs proceed in pretty much a linear fashion–Slow Focus immerses the listener in an aural landscape that offers so much to explore.
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    • 88 Metascore
    • 88 Critic Score
    Loud City Song is a true achievement from Julia Holter. Nary is there a hook on the album, but the richness and vividness that she brings to the songs musically and lyrically will hook you more effectively anyway.
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    • 82 Metascore
    • 87 Critic Score
    Is she singing lyrics? Hard to say. But these songs are unquestionably emotive, and I wouldn't be surprised if they were actually prayers.
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    • 86 Metascore
    • 87 Critic Score
    Bon Iver, Bon Iver settles itself around a more narrative structure, letting the baroque arrangements move from one destination to another.
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    • 83 Metascore
    • 87 Critic Score
    While Skying is not as large a leap forward as Strange House to Primary Colours was, it's still the work of a band firing on all cylinders, and an exceptional offering from a group that, out of nowhere, is quickly becoming one of the most exciting young acts around.
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    • 80 Metascore
    • 87 Critic Score
    It's said that Lamar's goal here was to prove himself capable of standing alone. Well, in certainly one of the greatest critical understatements written, he's done it.
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    • 76 Metascore
    • 87 Critic Score
    There's a simultaneous show-of-hand that somehow compliments that emotional weight rather than hinders it. It's that weight that gives these compositions durability, and considering how naked Acab leaves his samples, some staggering life. All said, it's really the bottom line here.
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    • 78 Metascore
    • 87 Critic Score
    An insistent, vital, full frontal assault.
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    • 80 Metascore
    • 87 Critic Score
    Their identity is hard to peg, and its just this that allows the music to completely possess the forefront, that makes it such an engaging, entertaining, and, perhaps most significantly, fascinating listen.
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    • 83 Metascore
    • 87 Critic Score
    Celebration Rock is in perpetual motion, driven by a visceral sense of urgency that most modern guitar music is so sorely lacking.
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    • 72 Metascore
    • 87 Critic Score
    There's No Leaving Now is one of the best albums of the year.
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    • 80 Metascore
    • 87 Critic Score
    It's the best album of its kind to come out this year and, perhaps even more significantly, Segall's best work to date.
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    • 78 Metascore
    • 87 Critic Score
    The songs are expensive in their depth of emotion but comforting in their intimacy and alluring appeal.
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    • 82 Metascore
    • 87 Critic Score
    With any luck, Wakin On A Pretty Daze will go down as a document to the workman he really is.
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    • 82 Metascore
    • 87 Critic Score
    All in all, Hopkins’ roadmap is splendidly plotted, taking the right amount of time to deliver you to your destination and showing you the detours you didn’t even know you wanted to see.
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    • 81 Metascore
    • 87 Critic Score
    It’s one of the most gleeful and replayable debuts of 2013.
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    • 85 Metascore
    • 87 Critic Score
    Where Music Has the Right seemed grounded in the real world (albeit a twisted recollection of such) and Geogaddi straddled the line between Star Wars and The Sandlot, Tomorrow’s Harvest finds the duo launching their sound into Lovecraftian orbit. And it sounds terrific.
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    • 82 Metascore
    • 86 Critic Score
    Though it may seem like Vile tends to waver on just how he wants to be perceived, the lack of commitment is nothing if not intensely deliberate.
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    • 74 Metascore
    • 86 Critic Score
    Sometimes these lyrics are a bit stifling and confusing to place in context, but once more, these songs become something more due to Turner's impeccable vocal melodies.
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    • 87 Metascore
    • 86 Critic Score
    The core of the album's success is its fantastic establishment of tonal environment--a brooding sexuality both sadistic and carnivalesque.
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    • 80 Metascore
    • 86 Critic Score
    The album takes many of Malkmus' favorite indie and classic rock influences and creates something fresh and dazzling.
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    • 85 Metascore
    • 86 Critic Score
    Strange Mercy is the lonely next door neighbour who could be just as popular if only you took the time to get to know her. Instead she is left to turn introspectively, which might not produce quite so brilliantly chromatic stories, but they can be just as – if not more – compelling.
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    • 74 Metascore
    • 86 Critic Score
    Dum Dum Girls always know exactly who they are, play on their own strengths, and leave the audience fully satisfied and happy to come back for more. Simplicity rarely sounds this good.
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    • 76 Metascore
    • 86 Critic Score
    At this point, it's hard to know what to let go and what to hold onto as a listener of M83, but regardless, Hurry Up, We're Dreaming is a pretty fantastic record.
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    • 88 Metascore
    • 86 Critic Score
    Despite its short length, Kindred provides as much of an experience as Untrue. And commendably, it's a different one.
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    • 68 Metascore
    • 86 Critic Score
    The record is 15 short vignettes about lost, unattainable, suboptimal, or just plain impossible love, and The Fields nail each and every one.
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    • 83 Metascore
    • 86 Critic Score
    Ekstasis is a challenging listen, but a rewarding one.
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    • 82 Metascore
    • 86 Critic Score
    Allo Darlin' makes this leap on Europe, resulting in an album that is subtly ambitious and surprisingly rewarding.
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    • 78 Metascore
    • 86 Critic Score
    When a flower blooms, it changes shape and appearance but not its biological essence; similarly, for all its subtle differences, Bloom avoids shedding the bittersweet swells that have become the duo's stock-and-trade.
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    • 83 Metascore
    • 86 Critic Score
    Slaughterhouse is one of the most vital and animal rock records in a recent memory.
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    • 83 Metascore
    • 86 Critic Score
    TNGHT may clock in at under 16 minutes, but it's the most satisfying quarter-hour blast you'll hear this year.
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    • 88 Metascore
    • 86 Critic Score
    The way your patience is so handsomely rewarded is what truly makes Lonerism such an engrossing spectacle.
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    • 85 Metascore
    • 86 Critic Score
    Ocean Roar [is] a truly proper follow-up.
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    • 81 Metascore
    • 86 Critic Score
    Torres doesn’t really feel like a debut, let alone something remotely self-released–the songwriting ability and surprisingly fantastic and natural production allow for this journal-esque story to get its due.
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    • 79 Metascore
    • 86 Critic Score
    The duo retain a stripped down approach and it helps make each production choice and songwriting turn feel pondered and noteworthy, each track carving out its own identity and mood within a larger thematically consistent body.
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    • 79 Metascore
    • 86 Critic Score
    Lesser songwriters might stop there, and accept lyrical maturation as the only necessary step toward a sophomore effort, but Crutchfield also uses Cerulean Salt as a way to expand her sonic palette beyond the crackling acoustic guitar ballads that marked her previous work.
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    • 77 Metascore
    • 86 Critic Score
    An aura of mystery and ambiguity hangs over Impersonator. The emotions and resulting thoughts are always present and felt, but their cause isn’t always clear.
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    • 75 Metascore
    • 86 Critic Score
    He’s fulfilled every promise made by Badlands and then some, and despite whatever depths of pain made such an eruption of shattered awesome possible, he’s managed not just one of the best albums of the year, but one of the most genuinely moving, as well.
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    • 83 Metascore
    • 86 Critic Score
    There’s a wealth of sonic variety on display but the concise run-time--clocking in at a fraction over 40 minutes--keeps matters focused and thoroughly engaging.
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    • 81 Metascore
    • 86 Critic Score
    AM
    AM is a pitch black party record, full of menacing pop and grimy, indelible grooves drowned in bourbon.
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    • 79 Metascore
    • 86 Critic Score
    Comparing it to where they once were, somewhere middling between post-rock and meandering industrial ambient, the sound of Factory Floor is of a band that is now confident in their own original and entirely dominant sound.
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    • 84 Metascore
    • 86 Critic Score
    Dream River is as evocative a record as he’s ever made and that’s saying quite a lot.
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    • 81 Metascore
    • 85 Critic Score
    He achieves a lot with a little. He never gives us filler. He continues to innovate. He has provided us with a great album, one that is a sure sign his velocity has not been slowed.
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    • 71 Metascore
    • 85 Critic Score
    It is an unmistakably raw first album of ripe potential, and one of the more memorable releases of the early weeks of this year.
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    • 83 Metascore
    • 85 Critic Score
    It's rare that an artist finds a voice in the unsaid. You could call her loss our gain.
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    • 77 Metascore
    • 85 Critic Score
    The whole thing sort of pops into existence, an idea and a testament, and instead of resolving, wistfully swoons into silence, all a dream. But maybe that's what Lennox was going for.
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    • 74 Metascore
    • 85 Critic Score
    The effort put into creating the dark atmosphere is gratuitous, but in the context of the album it works perfectly. Add to this the fact that every song carries a killer hook and you have one of the must-hear albums of the year.
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    • 82 Metascore
    • 85 Critic Score
    From epic opener "The Grey Ship," to the equally epic closing track "Red Star," Past Life Martyred Saints is an album that captivates, provokes, and pleases.
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    • 74 Metascore
    • 85 Critic Score
    Any apprehensions about whether or not Cults could turn "Go Outside" into a successful full-length should be hastily put to rest.
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