Beats Per Minute's Scores

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For 1,704 reviews, this publication has graded:
  • 57% higher than the average critic
  • 4% same as the average critic
  • 39% lower than the average critic
On average, this publication grades 2.1 points higher than other critics. (0-100 point scale)
Average Music review score: 75
Highest review score: 100 Achtung Baby [Super Deluxe]
Lowest review score: 18 If Not Now, When?
Score distribution:
  1. Positive: 1,556 out of 1704
  2. Mixed: 130 out of 1704
  3. Negative: 18 out of 1704
1704 music reviews
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    • 81 Metascore
    • 65 Critic Score
    Unity
    By cause and effect, the music submissively ambles between full-on 80s throwback mode and stylish juxtapositions of different sensibilities, sometimes frustratingly so for those inclined to want to feel or hear something new. More often than not, The KVB are simply great at reconfiguring their core influences in fresh ways instead of blowing it up into an all-out pastiche, which isn’t an easy thing to do when your music summons such a specific set of atmospherics.
    • 79 Metascore
    • 65 Critic Score
    Shook
    Algiers are unpredictable yet methodical, driving with eyes closed and reacting to the wheel’s vibrations instead of making it shake.
    • 57 Metascore
    • 65 Critic Score
    Evinspacey
    The levels of electronics that come in and out subtly, but skilfully, on the album's best songs are an indication of how much time Jason Drake has put into them. It's just a shame that this shines light more intensely on the songs where he didn't.
    • 61 Metascore
    • 65 Critic Score
    The R.E.D. Album
    With this mixed bag he's likely cemented his reputation as a MC that was blessed with a sack of classic beats for his debut, now just a rapper like the rest of 'em.
    • 72 Metascore
    • 65 Critic Score
    FIDLAR
    FIDLAR are still young, and they sing about what they know; never on the album do you feel like they’re presenting themselves as anything other than what they are, and this is why the album is enjoyable despite its repetition and simplicity.
    • 75 Metascore
    • 65 Critic Score
    Self-Surgery
    Self-Surgery is punchy and full of potential, but that’s mostly what it rides on. It’s a quick fix, but its depths are easily plundered.
    • 80 Metascore
    • 65 Critic Score
    Shyga! The Sunlight Mound
    The first half of SHYGA! contains most of the sharper hits, while the guitars on the second half are allowed to roam looser and longer.
    • 67 Metascore
    • 65 Critic Score
    Candy Salad
    This album will make for a perfectly amicable spring soundtrack, but in terms of a long-term shelf life it's be hard to imagine Candy Salad making it through the sweat and debauchery of the summer festival circuit in one relevant piece.
    • 71 Metascore
    • 64 Critic Score
    Extinction Level Event 2: The Wrath of God
    Extinction Level Event 2 is just too ambitious for its own good. Yet, for all the lazy sequels and cash-ins in a genre rife with them, it’s hard to fault Busta Rhymes for striving a bit too hard to go that extra mile.
    • 72 Metascore
    • 64 Critic Score
    Scope Neglect
    As it stands, the record is too disjointed as a whole body of work, and you get the sense that when you return to it at a future point it’ll be to pick out the peaks and entirely ignore the lows. Such is life.
    • 81 Metascore
    • 64 Critic Score
    Down in the Weeds, Where the World Once Was
    What comes reverberating out of Down in the Weeds, Where the World Once Was is Bright Eyes’ deep desire to create beautiful and ambitious music, which they’ve certainly done – even if the results aren’t as essential as what’s come before.
    • 74 Metascore
    • 64 Critic Score
    Songs Without Jokes
    Songs Without Jokes is a perfectly satisfactory addition to McKenzie’s musical career. He’s garnered enough clout behind his credentials to be able to release an album like this: inoffensive, perfectly likable in passing, but a few steps from his best work.
    • 69 Metascore
    • 64 Critic Score
    Hall Music
    This is an artist that certainly knows how to kick it in, but you spend most of your time waiting for it.
    • 70 Metascore
    • 64 Critic Score
    Kids in L.A.
    Fair play to them for expanding out on Kids in L.A. and finding appropriate inspiration, but I dare say that the emotion that brought the couple together seem to be their deepest well of inspiration.
    • 77 Metascore
    • 64 Critic Score
    Glasgow Eyes
    Glasgow Eyes isn’t far off being a great record, but those drops in quality aren’t just blips, they’re chasms.
    • 67 Metascore
    • 64 Critic Score
    Brilliant! Tragic!
    With some great tracks, and some tracks that are only just okay, Brilliant! Tragic! is definitely worth listening to at least once or twice this summer.
    • 68 Metascore
    • 64 Critic Score
    Out of Love
    There's half a very good album here, the rest is just a few clever musicians having some fun.
    • 74 Metascore
    • 64 Critic Score
    Home
    Rhye has always specialized in making the kind of dance music that operates at a cool temperature, feeling sexy and sensuous without going full dancefloor. ... Milosh does it again here, and makes room for some nice textural and instrumental details, but as Home closes with another heavenly choir piece, it accidentally suggests something about Rhye: maybe it’s time to try some new tricks.
    • 79 Metascore
    • 64 Critic Score
    Joy'All
    Joy’All feels so light that, despite some of its heavier themes and perfectly-enjoyable atmosphere, it sounds like it’s a couple seconds from simply evaporating, effervescent, like the bubbles from your Jack & Coke.
    • 79 Metascore
    • 64 Critic Score
    Slight Variations
    They’re churning away in a place that sounds comfortable to them, and not outdoing themselves or any expectations of them at this point in their career. In other words, no big changes – but you would never expect that of them.
    • 79 Metascore
    • 64 Critic Score
    The Dream
    The Dream doesn’t feel like a failed attempt at reaching new heights of popularity. It feels like a lot at once, but in a way that makes one want to give it another shot.
    • 79 Metascore
    • 64 Critic Score
    Chromatica
    Lady Gaga could probably do well with paring down a bit, perhaps finding some weird way to meld the ethos of Joanne with the sleek electronics of Chromatica. She is a very talented pop songwriter and a strong vocalist, but sometimes her ideas sometimes get the best of her, and Chromatica is emblematic of that, in all its highs and lows.
    • 73 Metascore
    • 64 Critic Score
    Neverendless
    CAVE have clearly done their homework in terms of musical influences, but I'd love to hear them spend less time droning in their footsteps of their forebears and more time actually crafting something new.
    • 71 Metascore
    • 63 Critic Score
    Romantic Comedy
    The record too often seems unsure of itself, the band uncertain of their ability to make this style of music conform to their rules rather than vice versa--a shame considering how talented Craig and Drennan are when it comes to melody and song.
    • 75 Metascore
    • 63 Critic Score
    Ceremonials
    Overall, Ceremonials leaves everyone's opinions of Florence + the Machine in stasis; if you loved or hated her before, you'll still feel the same way, if you were unsure, you'll still be unsure.
    • 76 Metascore
    • 63 Critic Score
    Tinsel And Lights
    Tinsel and Lights is at its best during its most Christmassy moments, which in the context of everything else, feels a little ironic, as Thorn sounds like she's trying to avoid the holiday for the most part.
    • 73 Metascore
    • 63 Critic Score
    Sundowner
    Sundowner bears some resemblance to Morby’s 2016 release Singing Saw. That album excelled in creating a wild and compelling atmosphere because its songs — with their choral support, varied instrumentation, and grittier production — rose to the occasion. On Sundowner, Morby’s storytelling isn’t just the album’s centerpiece – it’s an overcompensation.
    • 72 Metascore
    • 63 Critic Score
    Positions
    Grande’s immaculate outer shell both physically and artistically reframes her personal struggles through artifice, communicating relatability to her audience. Yet the lack of grit, grunge or goo keeps Positions distant from the listener, sitting far away, somewhere in the dark.
    • 69 Metascore
    • 63 Critic Score
    What I Breathe
    The first Mall Grab album is decidedly too busy and scattered to be much of anything but a letdown for most fans.
    • 78 Metascore
    • 63 Critic Score
    Indian Yard
    With Indian Yard, there’s a feeling we might not yet know the full identity of Ya Tseen, but a future release without such reliance on partnerships will surely enlighten. There’s enough thoughtful layering and earnest emotion (“At Tugáni” is where he shows this most, notably in a song named after his son) in Indian Yard to merit further exploration.
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