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
    • 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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    • 78 Metascore
    • 45 Critic Score
    These are stories we've already heard told better, and in the same voices.
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    • 78 Metascore
    • 59 Critic Score
    Toward the Low Sun staggers to get that momentum, though it does achieve atonement through progression.
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    • 78 Metascore
    • 58 Critic Score
    Wrecking Ball is an album that will reinforce most everyone's preexisting opinion of The Boss, whether they be good or bad.
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    • 78 Metascore
    • 59 Critic Score
    Local Business isn't a bad album, but it doesn't completely pull itself off either.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 78 Metascore
    • 60 Critic Score
    While Major has a good solid handful of inspired moments, none of this material comes close to approaching the plane as that Fang Island were operating on before.
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    • 78 Metascore
    • 45 Critic Score
    There are enough moments here to suggest that the band can find a comfortable middle ground between the two sounds that will suit both their aspirations and the desire of the listeners, let's just hope that next time around they find it.
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    • 76 Metascore
    • 54 Critic Score
    Its biggest problem is that, from start of finish, it feels strangely reserved.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 75 Metascore
    • 49 Critic Score
    We Must Become often hints at Joy Division's stylish brand of post-punk ennui, but by treating it as little more than a gimmick, Maus loses the urgency that makes Curtis's music so endurable.
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    • 74 Metascore
    • 58 Critic Score
    It can become background music all too easily: while Silver's work will always have a degree of ambience to it, Exercises can completely disappear from your consciousness if you don't pay enough attention, especially during the last few tracks.
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    • 74 Metascore
    • 60 Critic Score
    On Gimme Some, Peter Bjorn and John abandon the experimental sound they'd been developing over the course of the last few years in favor of flavorless alt-rock that falls short of the bar set by Falling Out.
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    • 74 Metascore
    • 60 Critic Score
    By itself, Mountaintops is a big, dry album that doesn't move you anywhere.
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    • 73 Metascore
    • 57 Critic Score
    As it stands, the rest of the record proves to varying degrees that it’s not necessarily reverb or effects that alienate--you can sound just as distant armed with nothing but clean instrumentation and an impenetrable air of disinterest.
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    • 73 Metascore
    • 55 Critic Score
    Ian Parton is capable of more, and his poor decisions and lack of forward-thinking will keep The Go! Team from being more than a great live act unless change is sought for their next record.
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    • 73 Metascore
    • 40 Critic Score
    By draining the grunge and punk influences from their sound and then over-producing every single song, Lucero have effectively become every Southern rock, blues-inspired bar band you've ever heard.
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    • 73 Metascore
    • 52 Critic Score
    It sounds reaching, like the band is lost and looking desperately for an audience and a voice. I hope they start looking somewhere else.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 73 Metascore
    • 59 Critic Score
    While the fury remains, there a perceptible dip in quality in nearly every aspect of the Thermals’ formula.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 72 Metascore
    • 55 Critic Score
    So much of Still Living is lost to completely monotonous-sounding songs, and while they are mixed impeccably and follow a certain rhythm, it's hard to get through the entire album in one sitting.
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    • 72 Metascore
    • 55 Critic Score
    The National Health is not a poor effort, it's just woefully undistinguished.
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    • 72 Metascore
    • 52 Critic Score
    It sounds like he's trying to sound less weird, when he doesn't seem to understand that this very weirdness is part of what made him so endearing as a solo artist in the first place.
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    • 72 Metascore
    • 58 Critic Score
    Ultimately what this record lacks is any sense of audacity or ambition.
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    • 71 Metascore
    • 60 Critic Score
    The most frustrating thing about these eleven songs is that it sounds as if Lidell is shackled by the aesthetic, and it’s totally self-imposed. He’s capable of more.
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    • 71 Metascore
    • 51 Critic Score
    They sound like too much like themselves and too much like the others, and even if you discount the pinpoint instrumentation, it's depressingly calculated.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 71 Metascore
    • 50 Critic Score
    While One Second of Love contains this personal touch of sound, it isn't used to potential.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 71 Metascore
    • 44 Critic Score
    There's a lot of kinda clichéd and heavy-handed stuff.
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    • 71 Metascore
    • 52 Critic Score
    The experimental mindset is evident in moments of Right Thoughts, but only a select few, and like Tonight, it’s most prominent on the last few tracks.
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    • 70 Metascore
    • 60 Critic Score
    God Forgives is consistently, pleasantly underwhelming: the plodding R&B-rooted efforts aside, there's nothing much to complain about.
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    • 70 Metascore
    • 60 Critic Score
    Instead of charm you've got big dramatic gestures at every turn.
    • Beats Per Minute (formerly One Thirty BPM)
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    • 70 Metascore
    • 56 Critic Score
    TEEN is another in a long line of mildly interesting but ponderous offshoots from already established bands.
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    • 70 Metascore
    • 52 Critic Score
    Beal appears determined to make his debut as inaccessible as possible. Intentionally crappy instrumentation holds the album back, stealing the focus from what is an incendiary voice--a lot of casual fans will be dumbfounded by this grating, uneasy listening.
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