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 My Beautiful Dark Twisted Fantasy
Lowest review score: 18 If Not Now, When?
Score distribution:
  1. Negative: 13 out of 843
843 music reviews
    • 75 Metascore
    • 68 Critic Score
    Widowspeak are a perfectly enjoyable, if ultimately unexciting band.
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    • 67 Metascore
    • 68 Critic Score
    Though the rest of the EP features both highs (the delightful "Bug," which sounds like it could be the prototype for which Williams bases all of his best material) and lows (the Weezer b-side material of "Poor Lenore"), the overall affect of Life Sux feels innocuous; an effort that will neither convert detractors or drive-away die hards.
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    • 69 Metascore
    • 68 Critic Score
    It may not be as game-changing or complete as †, but Audio, Video, Disco has the exact same energy, intrigue, ear for melody and air of defiance as the group's glittering debut.
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    • 78 Metascore
    • 68 Critic Score
    Take Care is a record unsure of itself, certainly more focused and interesting than its predecessor, but still far from the classic Drake had hinted at.
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    • 46 Metascore
    • 68 Critic Score
    There is no common thread, no thematic continuity and no real obvious reason behind any decision-making. It's an EP that is bound to raise the age-old philosophical question, "What is an EP for?"
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    • 71 Metascore
    • 68 Critic Score
    Headcage has a pair of iffy tracks to weigh down two good--if not great--tracks, the whole EP sits in a generally favourable position in my view.
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    • 70 Metascore
    • 68 Critic Score
    U&I
    As out of place as the occasional vocals are, the production surrounding them is impressive enough to at least disregard the problems for the short-term.
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    • 71 Metascore
    • 68 Critic Score
    There's nothing bad about it--at all--but considering how much work seems to have gone into it, it should feel that bit more captivating.
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    • 74 Metascore
    • 68 Critic Score
    If I don't revisit it, (and I might not, because it wasn't exactly mind-blowing), I appreciate it for at least being a pleasant listen.
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    • 78 Metascore
    • 68 Critic Score
    It's just a Hot Chip side project that sounds like a Hot Chip side project, and there's nothing wrong with that, but nothing terribly exciting either.
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    • 66 Metascore
    • 68 Critic Score
    Early Birds paints a picture of how the band were operating before they got around to releasing their debut, showing that they were just as interested in being silly and experimental as they are today.
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    • 70 Metascore
    • 68 Critic Score
    It's just solid and efficient, a period piece with modern trimmings.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 70 Metascore
    • 68 Critic Score
    Short, sweet, and edgy without being rough, Strange Grey Days is the perfect soundtrack to an afternoon daydream, be it sunny or shadowed, for its lullaby quality if not its stark originality.
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    • 65 Metascore
    • 68 Critic Score
    If you can forgive Barnes' very unfortunate excursions into hip-hop and overlook what is hopefully the last few Georgie Fruit guest spots, you'll be amazed at the range of sounds that the band manages to successfully explore here.
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    • 64 Metascore
    • 68 Critic Score
    Neither cold enough to make a disquieting impression nor warm enough to connect with the listener the way the artist’s own A Strangely Isolated Place or, hell, Amber did.
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    • 76 Metascore
    • 68 Critic Score
    There’s an impressive amount of sound and instrumentation for a trio. The consequence is that McEntire doesn’t stand out quite as well as last time, and can easily get lost in the tight, economical work from her bandmates.
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    • 74 Metascore
    • 68 Critic Score
    If The Year of Hibernation was childhood nostalgia, this is existentialist pubescence.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 74 Metascore
    • 68 Critic Score
    When viewed on its own, Vol. 3 is a pleasant, though fundamentally flawed, ending to Smith’s musical journey.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 73 Metascore
    • 68 Critic Score
    Akron/Family are never going to stop changing and you never really know what you’re gonna get, but they could perhaps do with a bit more cohesiveness and bit less grandiosity next time around.
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    • 71 Metascore
    • 68 Critic Score
    If Born Sinner proves anything, it’s that he’s not ready to take the fall, but he as a long way to go if he wants to rope off an area all his own in hip hop’s evolution.
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    • 79 Metascore
    • 68 Critic Score
    At the very least instead of sounding like he was curling up into a melancholic hibernating state as on Exercises, here he sounds like he once again wants to fight the boredom and start actively engaging the listener on all levels.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 75 Metascore
    • 67 Critic Score
    While it is hard to pinpoint anything wrong with Sound Kapital on a micro-level (and a great many people are likely to be happy with the collection), the resulting picture of Sound Kapital as a whole is one of complacency, making the album easy enough to like, but difficult to love.
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    • 64 Metascore
    • 67 Critic Score
    Although this may be a relative disappointment it should not be looked at as the start of a decline, but merely a curiosity in the collection.
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    • 61 Metascore
    • 67 Critic Score
    Sure, they may borderline on gimmick at times, but Born To Die has its own sound, and that is more than we can say about a lot of music that is presently being released.
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    • 78 Metascore
    • 67 Critic Score
    The album struggles to find a particular voice, and make any sort of statement, leaving me more than a couple of steps off using the album's own title to describe my opinion of it.
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    • 65 Metascore
    • 67 Critic Score
    It does sound a lot like oOoOO and under scrutiny with A-B comparisons, Our Loving Is Hurting Us is pretty starkly more of the same.
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    • 59 Metascore
    • 67 Critic Score
    Much like their genre, Clock Opera's music is nothing new, but has charming roots.
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    • 64 Metascore
    • 67 Critic Score
    It's when I keep in mind the idea of Pull It Together being an album for her daughter that I enjoy the album most, as it's in this light that it sounds at its most charming and likeable.
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    • 79 Metascore
    • 67 Critic Score
    Like Earth as a whole, "The Children" doesn't make for the most pleasant of listening experiences, but it does represent another evolution in Richter's artistic progression.
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    • 79 Metascore
    • 67 Critic Score
    It's an intermittently engaging set of ephemeral longevity, ultimately a little too nonspecific and slipshod to be considered alongside the rest of his full-length catalogue.
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