Beats Per Minute's Scores

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For 1,706 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: 1,558 out of 1706
  2. Mixed: 130 out of 1706
  3. Negative: 18 out of 1706
1706 music reviews
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    • 75 Metascore
    • 55 Critic Score
    CMFT
    Taylor takes that responsibility as a solo artist and runs with it, throwing everything and anything into the mix; there are the standard sounds you’d expect from him, but there’s also country, blues-based hard rock, punk and some rap-rock thrown in for good measure. And therein lies the issue with CMFT: rather than those disparate influences somehow mixing to become a whole, they’re left to stand on their own. The more you listen to CMFT, the more it comes across as ‘Corey Taylor does (insert genre here)’ rather than something cohesive.
    • 74 Metascore
    • 60 Critic Score
    Crybaby
    It remains a frustrating record, though, since it does show Tegan and Sara attempting to pull away, ever so slightly, from the sickeningly shiny days of “Closer”, but they get in their own way in their efforts to be edgy or forward-thinking.
    • 74 Metascore
    • 60 Critic Score
    In/Out/In
    The tracks are still unmistakably Sonic Youth, but in a period where each album had a particular feel and tone, these tracks feel too disjointed to sit together too well.
    • 74 Metascore
    • 58 Critic Score
    Exercises [EP]
    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.
    • 74 Metascore
    • 60 Critic Score
    Gimme Some
    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.
    • 74 Metascore
    • 60 Critic Score
    Mountaintops
    By itself, Mountaintops is a big, dry album that doesn't move you anywhere.
    • 73 Metascore
    • 57 Critic Score
    Almanac
    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.
    • 73 Metascore
    • 60 Critic Score
    Believer
    Believer’s songs push and pull against each other, and the end result leaves one feeling like not much ground has been covered. It’s bolder than most new albums in recent memory, especially coming from a label as big as XL, but too often their sound comes off as a bizarre experiment. They are capable of more.
    • 73 Metascore
    • 55 Critic Score
    Rolling Blackouts
    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.
    • 73 Metascore
    • 55 Critic Score
    Horizons/East
    On paper, Horizons / East sounds like a return to form, but in the end, this is all miles from what Thrice were doing a decade ago. ... Thrice are going to have to try a little bit harder next time.
    • 73 Metascore
    • 40 Critic Score
    Women & Work
    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.
    • 73 Metascore
    • 52 Critic Score
    Tao of the Dead
    It sounds reaching, like the band is lost and looking desperately for an audience and a voice. I hope they start looking somewhere else.
    • 73 Metascore
    • 59 Critic Score
    Desperate Ground
    While the fury remains, there a perceptible dip in quality in nearly every aspect of the Thermals’ formula.
    • 72 Metascore
    • 52 Critic Score
    Atum
    ATUM is the most controversial and strangest of all Smashing Pumpkins albums: a record that defies expectations but often disappoints in how prosaic and calculated it is.
    • 72 Metascore
    • 40 Critic Score
    W.L.
    When they really let themselves down is on the sappiest songs.
    • 72 Metascore
    • 55 Critic Score
    Still Living
    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.
    • 72 Metascore
    • 40 Critic Score
    All Quiet on the Eastern Esplanade
    The Libertines, with their second comeback, have chosen the other, “safe” direction, and sacrificed their integrity for it. Doherty sounds tired, abandoning nostalgia for kitschy gestures. Barât has fun, putting on his old jacket and playing rockstar, but he’s not rethinking his role as musician, or portraying growth as a songwriter.
    • 72 Metascore
    • 59 Critic Score
    Half Mirror
    It’s a modest debut, and that’s the highest praise as O’Connell could ask for with an album this timid.
    • 72 Metascore
    • 55 Critic Score
    The National Health
    The National Health is not a poor effort, it's just woefully undistinguished.
    • 72 Metascore
    • 60 Critic Score
    Poster Girl
    Poster Girl is a step forward in a somewhat more concise direction for Larsson, but it could have used some fine-tuning to fully commit to its vision. She has created an album that is unapologetically romantic and fun but lacking in consistency production-wise.
    • 72 Metascore
    • 52 Critic Score
    The Flower Lane
    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.
    • 72 Metascore
    • 58 Critic Score
    Among the Leaves
    Ultimately what this record lacks is any sense of audacity or ambition.
    • 71 Metascore
    • 60 Critic Score
    Jamie Lidell
    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.
    • 71 Metascore
    • 60 Critic Score
    Caravan Château
    Caravan Château is undoubtedly a sonically interesting album to partake in. But Izenberg’s compositions don’t always lend him any favours. They are considered, and everything feels deliberate (despite how sporadic it may be presented to be), but sometimes they don’t wander in any direction that makes for engaging listening.
    • 71 Metascore
    • 60 Critic Score
    Detroit 2
    It gets bogged down in the doldrums somewhere between the personal and universal, and ends without truly having reached either shore.
    • 71 Metascore
    • 51 Critic Score
    Beware and Be Grateful
    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.
    • 71 Metascore
    • 58 Critic Score
    Unlimited Love
    It’s far from a miserable affair, it certainly passes the time, it’s just hard to imagine how so much talent in a room didn’t arrive with something that didn’t feel so staid.
    • 71 Metascore
    • 50 Critic Score
    One Second of Love
    While One Second of Love contains this personal touch of sound, it isn't used to potential.
    • 71 Metascore
    • 44 Critic Score
    Synthetica
    There's a lot of kinda clichéd and heavy-handed stuff.
    • 71 Metascore
    • 52 Critic Score
    Right Thoughts, Right Words, Right Action
    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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