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 The SMiLE Sessions
Lowest review score: 18 If Not Now, When?
Score distribution:
  1. Negative: 13 out of 843
843 music reviews
    • 70 Metascore
    • 70 Critic Score
    What results is a more even effort, a more accomplished record, by all stretches of the imagination, but one that lacks a single truly brilliant track to elevate it above the legion of Brooklyn guitar bands.
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    • 73 Metascore
    • 70 Critic Score
    It's pleasant, unsurprisingly enough, in both its sonic direction and minimal production, but it lacks the sense of overwhelming purpose usually found on both artists' solo records.
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    • 73 Metascore
    • 70 Critic Score
    You can’t help but admire their ambition, but their tendency to overreach is inhibiting them from becoming the band they want and deserve to be.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 68 Metascore
    • 70 Critic Score
    They’re wisps and fragments that might leave you feeling nostalgic for the nostalgia that marked Payseur’s past. If only the messages contained within the songs rang as true as the guitars.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 62 Metascore
    • 70 Critic Score
    Thematic speculation aside Green has managed, more simply to write a compelling collection of guitar pop songs.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 71 Metascore
    • 70 Critic Score
    Bankrupt! suffers because it feels a little detached at times, like you can’t really tell where the band are in the big picture.
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    • 72 Metascore
    • 70 Critic Score
    Sometimes pushing the envelope may be a grandiose gesture, other times more subtle, and while Wild Nothing may never be a Brian Eno, there’s certainly nothing wrong with being a Felt or Go-Betweens.
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    • 71 Metascore
    • 70 Critic Score
    Saab Stories is the least appealing of those [albums], but that has less to do with the rapper and more to do with the production which doesn’t allow this extra-large personality to conflate alongside it. Action Bronson is a big man; he just needs room to breathe.
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    • 77 Metascore
    • 69 Critic Score
    Mostly, the listener will leave Kiss Each Other Clean craving something lyrically to hold onto, to become affected beyond the immediate emotional stirs that the pure prettiness of songs like Godless Brother In Love.
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    • 71 Metascore
    • 69 Critic Score
    Sure Zonoscope is splattered with stumbled-upon gems, but a little more editing and maybe some more focused songwriting sessions could have really brought Zonoscope into focus.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 57 Metascore
    • 69 Critic Score
    There's a great EP's worth of material hiding within Replicants, and I wish it had stayed that way.
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    • 74 Metascore
    • 69 Critic Score
    McCombs would be better served rediscovering wit, rather than abandoning it, thus leaving the listener feeling abandoned as well. But, again, I guess that is the point.
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    • 66 Metascore
    • 69 Critic Score
    It's fun, accessible, at times completely unique, but ultimately it would have nice to hear Jr. Jr. challenge their own sound a little more on their debut album.
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    • 64 Metascore
    • 69 Critic Score
    So while it displays a more mature and focused sound for The Drums, the album eventually crumbles beneath the weight of its influential stilts.
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    • 60 Metascore
    • 69 Critic Score
    There are good ideas scattered about on the record, but when you have to pass through several minutes of cacophonous effects and layers of sound, it can get a little exhausting.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 72 Metascore
    • 69 Critic Score
    Sure, it's nice to hear such a talented songwriter working with ease and precision, but it's just not always that interesting.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 75 Metascore
    • 69 Critic Score
    For all its gorgeous expansiveness and new perspectives, it never comes together to be incisive or essential.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 61 Metascore
    • 69 Critic Score
    Ripe for radio play it may never see, Spine Hits is a neutral but enjoyable record for the impending days of sun and so-what.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 69 Metascore
    • 69 Critic Score
    Worship [is] an occasionally solid, but ultimately forgettable affair.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 76 Metascore
    • 69 Critic Score
    Once again Dunn creates slow, careful, and judicious pieces that mirror the sound between the memories in your head, often lulling the listener into an introspective calm.
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    • 72 Metascore
    • 69 Critic Score
    Though it may take some time to grow accustomed to, this is a record you'll want to wrap yourself up in.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 68 Metascore
    • 69 Critic Score
    Essentially, Aimlessness is a jovial affair that promises more in its first half than it can deliver in its second.
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    • 68 Metascore
    • 69 Critic Score
    These three tracks ["A Broken Heart," "Lysandre," and "Everywhere You Knew"] function as everything Owens could have dreamed this first solo effort to be. But the rest of the album, which aims for similar points of emotional cohesiveness, but due to some ham-fisted instrumental choices, the message can become muddled.
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    • 66 Metascore
    • 69 Critic Score
    They haven't quite found it yet, but Esben and the Witch have the potential for an arresting and momentous album in them.
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    • 66 Metascore
    • 69 Critic Score
    Despite the thimble of predictability or aural similarity, Wahlfeldt has accomplished in Crusher an interesting take on familiar sounds. It’s too fuzzed out to just be post-punk, too sparse to just be a home-recorded take on his alt-rock idol.
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    • 79 Metascore
    • 69 Critic Score
    Tricolore is enjoyable, but it’s a sum of two different parts; together it comes off as strangely disjointed, like shifting from speaking German to speaking Japanese.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 72 Metascore
    • 69 Critic Score
    Even though Supermigration is constructed as a whole, it doesn’t always work best in one sitting.
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    • 74 Metascore
    • 69 Critic Score
    With repeated listens though, the tracks on Versions don’t entice you back again and again like the ominous hook-laden tracks of Stridulum or even the wide sound palette of Conatus do. Versions is probably best for those who were there at the Guggenheim concert.
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    • 80 Metascore
    • 68 Critic Score
    Lucky Shiner has all the facets of something good. It breathes on its downbeats, sings rickety sampler loops, and, most enjoyably, it takes its time.
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    • 66 Metascore
    • 68 Critic Score
    Tapes 'n Tapes will probably never again manage to capture the youthful, devil-may-care magic of The Loon--those times are passed. But Outside, with its handful of pretty fantastic tracks, shows positive signs that this band may not be the victim of early success that it once seemed destined to be.
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