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 2.3 points higher than other critics. (0-100 point scale)
Average Music review score: 75
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
    • 80 Metascore
    • 78 Critic Score
    Such is Krug’s way with words: deliberately or not, he’s weaving a huge tapestry that makes the author clearer to us. Julia With Blue Jeans On is another section in it and is a damned beautiful, it not great one at that.
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    • 80 Metascore
    • 83 Critic Score
    Thursday continues a linear narrative that House of Balloons started and its far from an afterthought or epilogue.
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    • 80 Metascore
    • 80 Critic Score
    It's not quite a masterpiece, but its successes are both grand and numerous enough to suggest that the next time Chromatics come around, they'll likely be delivering one.
    • 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.
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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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    • 80 Metascore
    • 72 Critic Score
    It promises even better material to come if he can blend the astounding songcraft from earlier efforts with the atmosphere of this album.
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    • 80 Metascore
    • 81 Critic Score
    Oshin is undeniably a record tailored for driving around with some friends in the dead heat of summer, but the music also packs a range of raw emotions.
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    • 80 Metascore
    • 78 Critic Score
    The Golden Age of Apocalypse is a great album that shows Bruner utilizing all of his bass wizardry.
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    • 80 Metascore
    • 80 Critic Score
    Nothing Is Wrong sees the band not only avoiding the often-discussed sophomore slump, and rising to the challenge and delivering a far more accomplished record than their first; one that should make the band into one of the biggest and most respected in the current americana/folk rock community.
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    • 80 Metascore
    • 85 Critic Score
    Iceage mine the clangorous middle ground between traditional punk structures and the often sterile world of Joy Division-indebted post-punk, but they transcend both of those genres, just by meaning what they say.
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    • 80 Metascore
    • 81 Critic Score
    Marissa Nadler is the sort of folk album that you'll be returning to simply because it is so varied.
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    • 80 Metascore
    • 83 Critic Score
    Goodbye Bread may not change the face of music, cause, y'know, it's only rock 'n roll. But it's damn hard not to like it.
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    • 80 Metascore
    • 85 Critic Score
    We Are the 21st Century Ambassadors of Peace and Magic delivers on the promise of Foxygen's previous material in almost every way possible, offering up full and complete songs filled with bright instrumentation and enough surprising songwriting turns to get lost in, but there's also a strong personality at its core bursting with a vibrancy that carries these songs beyond their specific musical waypoints and influences into a uniquely modern setting.
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    • 80 Metascore
    • 80 Critic Score
    It manages to sound familiar while sounding entirely new, all the while making it clear that this is a sound only Lambchop could create.
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    • 80 Metascore
    • 67 Critic Score
    They write very strong songs, but aural satiation sinks in over Bones‘ 48 minute runtime.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 80 Metascore
    • 75 Critic Score
    It not so much a record that juxtaposes itself, but rather one that sways between the two sides of whatever spectrum you put it in.
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    • 80 Metascore
    • 84 Critic Score
    A tangled and glorious mess of aggressive glitches and clipped synths and stuttering beats and hints, shadows, and fragments of tunefulness.
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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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    • 80 Metascore
    • 79 Critic Score
    It's a refinement of what he accomplished with Sugar, and is arguably the most consistently engaging album he's made since Copper Blue.
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    • 80 Metascore
    • 79 Critic Score
    Leaving Atlanta is far from a perfect record - there is not anything approaching 'classic status' on it – but it is a very fine one, and certainly one of the best we will see in its genre this year.
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    • 80 Metascore
    • 80 Critic Score
    Narrative beauty and endless energy is abound, but you're going to have to play make believe to find out.
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    • 80 Metascore
    • 83 Critic Score
    In any case, Leave Home is no doubt one of the most gut-punched and brain-addled rock rock records to arrive in quite some time.
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    • 80 Metascore
    • 80 Critic Score
    Thoroughly enjoyable from front to back, Heaven oozes confidence and polish.
    • Beats Per Minute (formerly One Thirty BPM)
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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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    • 80 Metascore
    • 81 Critic Score
    Arabia Mountain is energetic, fun, loose, and immediate. Everything the Black Lips should be.
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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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    • 80 Metascore
    • 78 Critic Score
    Where I was expecting a great album, I've instead encountered one that's merely very good.
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    • 80 Metascore
    • 70 Critic Score
    Despite the clear motives with the themes in the album, the instrumentation fluctuates in a chaotic manner that makes it very confusing to listen to at times.
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    • 80 Metascore
    • 78 Critic Score
    He [Chasney] may have made a misstep by not allowing the album to have that singularly defining moment but after his last few records, Ascent is a step up in terms of direction and execution.
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    • 80 Metascore
    • 80 Critic Score
    This is a damn good 10 track record, boasting noteworthy turns by its guests and laudable production, but for how long will it spin until the next one comes around? Curren$y has finally found the following he deserves; one can only hope he preserves his moment, rather than squander it.
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