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 2.4 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 Life's Rich Pageant
Lowest review score: 18 If Not Now, When?
Score distribution:
  1. Negative: 13 out of 843
843 music reviews
    • 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.
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    • 80 Metascore
    • 75 Critic Score
    RocketNumberNine should be commended for the killer tracks that they’ve managed to pack into MeYouWeYou.
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    • 80 Metascore
    • 75 Critic Score
    More variety would help his cause, but Holiday is a graceful, emotionally affluent debut.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 80 Metascore
    • 73 Critic Score
    The character of each new Low album is always a mystery until you hear it, so speculating on whether they’re likely to continue working in this manner is pointless at this juncture, but it’s good to know that ten albums in Low still have the ability to put together a stirring collection of songs.
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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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    • 80 Metascore
    • 84 Critic Score
    Electronic Dream concludes like it was only meant to be heard once and then remembered in scraps like its namesake, but, thankfully, its starts over as readily as it ends.
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    • 79 Metascore
    • 85 Critic Score
    This kind of remaster campaign is normally reserved for albums that have had decades to sink into the national consciousness as is, introducing a shock-of-the-new, hearing-it-again-for-the-first-time element, and while the oldest of the Trilogy material has only been around for a year and a half or so, the differences in the new mixes can still be jarring.
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    • 79 Metascore
    • 72 Critic Score
    If you take one thing away from this debut, take away the fact that it's thoroughly deserved.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 79 Metascore
    • 80 Critic Score
    What can I say? It's just a really f*cking good rock album.
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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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    • 79 Metascore
    • 77 Critic Score
    House of Woo suggests an artist who’s still coming into his own without being afraid to play chameleon at the DJ booth.
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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.
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    • 79 Metascore
    • 77 Critic Score
    You'll find records this year of greater agency, but you'd be hard-pressed to find one that renders pleasure with such poignant lightness, control, and willful attention to difference.
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    • 79 Metascore
    • 83 Critic Score
    In contrast to the self-aware grandeur and show of My Beautiful Dark Twisted Fantasy, Quik's done much the same thing he did in '91: put out a great rap record, plain and simple.
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    • 79 Metascore
    • 75 Critic Score
    What’s impressive here is how Cunningham manages to borrow from the thumping liveliness of bass music, the hyperactive repetition of glitch, and the uneasy industrial murk of something from the Modern Love label without sacrificing any of these styles’ appeal.
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    • 79 Metascore
    • 81 Critic Score
    The end result is a quieted, more suppressed record that steps delicately from one note to the next and shines even more of a spotlight on the twin vocal sentiments of longing and crumbled romance.
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    • 79 Metascore
    • 70 Critic Score
    Remember, Girls are only on their second full-length album and certain missteps should be expected. What we do know is that an album that misses the mark for Girls is far better than the majority of music we come across on a daily basis, and that Father, Son, Holy Ghost is, above all, a fascinating listen.
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    • 79 Metascore
    • 70 Critic Score
    I remember how the Fiery Furnaces are always willing to take chances with their music; I wish Eleanor Friedberger had done the same on Last Summer. Instead, she plays it safe, weaving interesting tales to the tune of surprisingly average music. That's fine, but playing it safe rarely makes for a good story.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 79 Metascore
    • 73 Critic Score
    D
    White Denim's attention to detail is superb, but everything just fits together. It must be said though, that they aren't breaking any new ground at all, but sometimes that doesn't matter if the music is good enough to hold its own.
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    • 79 Metascore
    • 81 Critic Score
    Punk Authority sounds too accomplished to be the product of mere caprice.
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    • 79 Metascore
    • 75 Critic Score
    There are a couple of lesser tracks on Nostalchic and it’s up for debate as to how well Howard sticks the landing on the LP format, but Lapalux is a singular talent and his debut is evidence of that even if the pieces don’t all quite click neatly into place.
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    • 79 Metascore
    • 78 Critic Score
    Scoff at them for being a bit too obvious with their name but Fuzz and Fuzz deliver the garage rock roar we’ve come to expect from Segall and Co.
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    • 79 Metascore
    • 72 Critic Score
    Mindlessly hummable and pure of vision, Howlin’ sounds just as good coming from your headphones as it does from Marshall stacks.
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    • 79 Metascore
    • 78 Critic Score
    Be Strong is a rather exhaustive album when consumed in one sitting, but if you've got the fortitude to reach the closing track "The Church" during that listen, it can be a very euphoric climax.
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    • 79 Metascore
    • 78 Critic Score
    Although he's using sounds and influences from many of the musical hubs on the Earth, from Africa to America and plenty in between, with them he has created aural scenery that is so serene and heavenly that it couldn't possibly exist on our busy and frantic planet.
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    • 79 Metascore
    • 78 Critic Score
    Breathy vocals, immensely hooky songwriting and a brilliantly defined technicolor aesthetic established from the very beginning. Such description could have been thrown at Stereolab in the early '90s and at Broadcast in the early 2000s.
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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.
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    • 79 Metascore
    • 81 Critic Score
    Those who weren't sold on Gillis' act before aren't going to change their minds, but his records are consistently great, and All Day is no exception.
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    • 79 Metascore
    • 84 Critic Score
    Dedication is not an easily accessible album, but I cannot think of any other experimental album that is. These types of albums become increasingly rewarding with every listen, and this is one that should be heard.
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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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