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 Achtung Baby [Super Deluxe]
Lowest review score: 18 If Not Now, When?
Score distribution:
  1. Negative: 13 out of 843
843 music reviews
    • 81 Metascore
    • 85 Critic Score
    Allelujah! seems more immediate and more organic, but instead of feeling blown away by it's unreachable drama and grandeur, with a decade of age behind us and the band, it feels inhabitable in a way Godspeed never has before.
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    • 77 Metascore
    • 85 Critic Score
    With patience, Hummingbird's panorama comes into full view, and it is one full of arrestingly arranged set pieces and an impressive sense of economy.
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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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    • 72 Metascore
    • 85 Critic Score
    The record is patient and delicate, but Chung remains a constant if not aggressive presence within every track, imbuing each with immaculate detail.
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    • 65 Metascore
    • 85 Critic Score
    Yeah Right’s dual interests in songwriting and guitar explorations end up being its greatest strength.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 78 Metascore
    • 85 Critic Score
    II
    The trance-like pace of II serves to reinforce the album rather than weaken it.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 81 Metascore
    • 85 Critic Score
    Even without the context of her back catalog, these songs are strong in their own right.
    • Beats Per Minute (formerly One Thirty BPM)
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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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    • 69 Metascore
    • 85 Critic Score
    It’s not an album that immediately reveals itself, but when it lets you in it’s hard to find your way out.
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    • 75 Metascore
    • 85 Critic Score
    Frank Ocean might have a gutsier pen game–and Usher more moves and Miguel more sex appeal--but 20/20 is easier to fall into a groove with than any of the best contemporary pop/R&B albums out right now.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 83 Metascore
    • 85 Critic Score
    Nothing here is overtly thrilling but ultimately the record is a real joy to listen to.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 78 Metascore
    • 85 Critic Score
    Seabed is a luscious album that implores you to dive into the gorgeous depths of its sound and atmosphere.
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    • 82 Metascore
    • 85 Critic Score
    While James Blake felt aloof, even ahuman, Overgrown is packed with feeling, and releases it with the smallest of gestures.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 81 Metascore
    • 85 Critic Score
    With additional help from fellow musician and frequent collaborator Justin Vernon (whose vocals are the only overdubbed aspect of the music), the songs on To See More Light are as devastatingly personal as they are emphatically otherworldly--inhuman sounding even. This stark dichotomy of sound and intent throws Stetson’s music into austere relief.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 78 Metascore
    • 85 Critic Score
    Thirty tracks and seventy-five minutes, Fabric 69 is a work of incredibly sturdy sonic architecture; it’s hardly inert or monotonous, yet at the same time it takes techno’s notion of repetition to what might be considered a logical extreme.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 84 Metascore
    • 85 Critic Score
    On MCII, it’s a dual-edged sword that he brandishes skillfully into a scintillating sophomore record, one stacked with some of the year’s best pop-rock tunes.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 84 Metascore
    • 85 Critic Score
    Modern Vampires of the City finds the band in both familiar and unfamiliar territory, and it’s pure pleasure hearing them navigate these waters.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 84 Metascore
    • 85 Critic Score
    Unpredictable it is not, but taken as a study of sound and mood, it’s kind of perfect.
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    • 81 Metascore
    • 85 Critic Score
    Abandon is one of the most cathartic, brutalizing, and beautiful experimental releases this or any year.
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    • 87 Metascore
    • 85 Critic Score
    [A] sprawling, at times impenetrable, but most outstandingly, engaging ramble.
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    • 79 Metascore
    • 85 Critic Score
    Nepenthe isn’t The Magic Place, but it certainly sounds like she’s found another special site of inspiration. Thankfully for us it’s just as prodigious and marvellous as anything else Barwick has put out before.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 79 Metascore
    • 85 Critic Score
    With the triumvirate of googly-eyed rhythms, sinfully catchy melodies and a breeziness that seems only fitting, they’ve served up one of the most auspicious debuts of the year.
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    • 64 Metascore
    • 84 Critic Score
    Let us hope this isn't a flash-in-the-pan success and that subsequent releases are just as good.
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    • 81 Metascore
    • 84 Critic Score
    Where there was honesty in the lyricism of "Losing My Edge" in 2002, there is now sonic honesty in the vivacious rock and roll that is the London Sessions.
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    • 86 Metascore
    • 84 Critic Score
    Though the album now comes with studio polish and masterful songwriting, W H O K I L L still feels like an underground tape, challenging the listeners with oddball melodic choices.
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    • 73 Metascore
    • 84 Critic Score
    W
    It is the inability to identify a precise sound, while all the while remaining consistent, that is W's greatest achievement, a notion as ambiguous and tempting as Rostron herself.
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    • 75 Metascore
    • 84 Critic Score
    Ultimately, it might not be a more serious album than anything previous, but Shangri-La captures the spirit of uncertainty and restlessness that 21st century modernity has created.
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    • 67 Metascore
    • 84 Critic Score
    The songs are so masterfully constructed and the mood throughout so consistent that the key complaint must be that it has to inevitably come to an end; a sure-fire sign that an album is doing something right.
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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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    • 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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