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
    • 63 Metascore
    • 60 Critic Score
    If anything, A Very She & Him Christmas can feel like a wet blanket at times, like a party that just can't get off the ground.
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    • 70 Metascore
    • 60 Critic Score
    Instead of charm you've got big dramatic gestures at every turn.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 62 Metascore
    • 60 Critic Score
    The record sounds tired, dreamy, and wasted in the daylight at five in the afternoon– it tries to be breezy, but instead still feels like 99 degrees of heat.
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    • 78 Metascore
    • 60 Critic Score
    While Major has a good solid handful of inspired moments, none of this material comes close to approaching the plane as that Fang Island were operating on before.
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    • 70 Metascore
    • 60 Critic Score
    God Forgives is consistently, pleasantly underwhelming: the plodding R&B-rooted efforts aside, there's nothing much to complain about.
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    • 60 Metascore
    • 60 Critic Score
    They start off well, though, with a trio of solid tracks.... The remaining tracks on the album are equally inoffensive, but they don't have the same half-minded unassuming appeal to help them glide along, and too often there's one too many head-in-your-hands cheesy lines thrown in.
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    • 71 Metascore
    • 60 Critic Score
    The most frustrating thing about these eleven songs is that it sounds as if Lidell is shackled by the aesthetic, and it’s totally self-imposed. He’s capable of more.
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    • 78 Metascore
    • 59 Critic Score
    Toward the Low Sun staggers to get that momentum, though it does achieve atonement through progression.
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    • 68 Metascore
    • 59 Critic Score
    As an album, it's ultimately too bogged down by its professionalism and erraticism to come together very well.
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    • 78 Metascore
    • 59 Critic Score
    Local Business isn't a bad album, but it doesn't completely pull itself off either.
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    • 68 Metascore
    • 59 Critic Score
    Like Silica Gel, Sushi isn't a bad album; it's just disappointingly mediocre, and I expect better than that from the psychedelic underground's clown prince of Cool Runnings and backseat-of-grandma's-Oldsmobile Top-40 jams.
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    • 73 Metascore
    • 59 Critic Score
    While the fury remains, there a perceptible dip in quality in nearly every aspect of the Thermals’ formula.
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    • 69 Metascore
    • 59 Critic Score
    Nocturnes rates better as an album that sounds better with time, as opposed to Hands’ sugar rush appeal. However, it also retains an uneven quality that can make getting through Nocturnes feel like someone trying to drag the party on a little too long.
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    • 65 Metascore
    • 58 Critic Score
    Different Gear, Still Speeding shows that the band is comfortable with themselves and their follow-up has every chance to be a stronger album – especially if they are brave enough to include more styles, even if they won't move beyond their British Invasion inspirations.
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    • 67 Metascore
    • 58 Critic Score
    Chopped & Screwed is an interesting concept that would certainly be fascinating to witness live. However, on record, it does not reach more than a curiosity frequently enough to make it worth many repeat plays.
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    • 70 Metascore
    • 58 Critic Score
    We have this perfectly pleasant and assuming piece of synth pop, neighing through a vocoder with the dying breath of the shamelessly beaten horse of retro-futurism.
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    • 62 Metascore
    • 58 Critic Score
    This kid may not have the voice of a generation, but there's certainly a demographic he could mean the world to. Once he figures out that it's what he has to say that should guide his singles, rather than what he imagines we want to hear, there may well be a great artist in Yelawolf.
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    • 78 Metascore
    • 58 Critic Score
    Wrecking Ball is an album that will reinforce most everyone's preexisting opinion of The Boss, whether they be good or bad.
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    • 74 Metascore
    • 58 Critic Score
    It can become background music all too easily: while Silver's work will always have a degree of ambience to it, Exercises can completely disappear from your consciousness if you don't pay enough attention, especially during the last few tracks.
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    • 65 Metascore
    • 58 Critic Score
    The end results are still pleasant enough, but can wear thin, even just after five songs.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 72 Metascore
    • 58 Critic Score
    Ultimately what this record lacks is any sense of audacity or ambition.
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    • 62 Metascore
    • 58 Critic Score
    Rave Age is an awkward half-step in a couple directions for Vitalic. It's texturally half-baked and predictable.
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    • 69 Metascore
    • 57 Critic Score
    Astronomy sounds like a healthy stroll down 90s Alternative Alley, and is as comforting as it is overly familiar; giving it a listen won't change your perspective on music, but it might make you pine for the good old days.
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    • 63 Metascore
    • 57 Critic Score
    The moments of brightness--some poetry here, a brief pop moment there--will get most listeners through the album, but won't inspire them to keep coming back.
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    • 73 Metascore
    • 57 Critic Score
    As it stands, the rest of the record proves to varying degrees that it’s not necessarily reverb or effects that alienate--you can sound just as distant armed with nothing but clean instrumentation and an impenetrable air of disinterest.
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    • 79 Metascore
    • 56 Critic Score
    As is, I Am Very Far is far from a lot of things, the biggest among these is the high bar that Okkervil River has never had a problem exceeding, until now.
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    • 61 Metascore
    • 56 Critic Score
    Apart from the aptly titled "Film Credits," which, worthily, plays much like a ode to Max Richter, the music on the remainder of the album is left to unsatisfying and grey piano suites that don't sound destined for a more open setting nor benefit from the intimate setting of Arnalds' own living room.
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    • 70 Metascore
    • 56 Critic Score
    TEEN is another in a long line of mildly interesting but ponderous offshoots from already established bands.
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    • 69 Metascore
    • 55 Critic Score
    If you're hoping for change here, give up now. Man on the Moon II: The Legend of Mr. Rager is also presented in five acts, and again has no real structure to justify them.
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    • 73 Metascore
    • 55 Critic Score
    Ian Parton is capable of more, and his poor decisions and lack of forward-thinking will keep The Go! Team from being more than a great live act unless change is sought for their next record.
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