Blender's Scores
- Music
For 1,854 reviews, this publication has graded:
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39% higher than the average critic
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3% same as the average critic
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58% lower than the average critic
On average, this publication grades 7.8 points lower than other critics.
(0-100 point scale)
Average Music review score: 65
| Highest review score: | Together Through Life | |
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| Lowest review score: | Folker |
Score distribution:
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Positive: 957 out of 1854
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Mixed: 862 out of 1854
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Negative: 35 out of 1854
1854
music
reviews
- By Date
- By Critic Score
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- Critic Score
Her hits are underrepresented, more recent songs are overrepresented, and [Vince] Mendoza's overly ornate orchestrations are dull, self-absorbed affairs, frequently swamping the great songs and Mitchell's vocals. [#12, p.147]- Blender
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The result approaches sublimity, but remains geared toward dance floors. [#13, p.96]- Blender
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What makes the stop-and-go, drum-thick music on this CD such a smooth ride, is that despite the pout, this is still the same old David. [#12, p.140]- Blender
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[They] emerge from the Chemical Brothers' shadow without ever threatening to break new ground. [#13, p.93]- Blender
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- Critic Score
Reveals little beyond the surface, and generally rehashes past formulas. [#13, p.96]- Blender
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Quality is full of witticisms, but it draws equal strength from sonic diversity. [#12, p.145]- Blender
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This is feel-good stuff, the sound of a rejuvenating artistic vacation. [#12, p.136]- Blender
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Twain's songs are never deep, but they have hooks tattooed on their skin and harmonies that glow like bar lights. [#13, p.88]- Blender
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Thomas's songs derive power from being derivative. [#13, p.98]- Blender
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The production seems to capture a band that's playing live, with the guitarists constantly pushing each other and tunes evolving on the spot. [#11, p.122]- Blender
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There is little... to compare with either the work of his Genesis heyday or his still heartbreaking 1981 solo debut. [#12, p.139]- Blender
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Tempering futurism with retro-rap here, [Timbaland and Missy] feed the old through the new and refresh both. [#12, p.142]- Blender
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Ikara Colt have clambered up the food chain by choosing the short, sharp shock of mid-'80s Sonic Youth as the template for their entire being. [#12, p.143]- Blender
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Despite the endurance test inherent in any double-disc, his Olympian performances are worth the weight of his pretensions. [#12, p.156]- Blender
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3D's sheer creative vibrancy is itself a testament to Lopes's live-wire charisma. [#12, p.155]- Blender
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The album merely washes pleasantly past, tickling the ear and delivering a few hummable refrains. There's nothing here to lift listeners the way White Ladder did. [#12, p.143]- Blender
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Touching Down needs vocals, stylistic variation or any kind of respite from the relentless percussive onslaught. [#13, p.98]- Blender
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His blunt, hauntingly direct performances open up new perspectives on a song. [#11, p.133]- Blender
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His second proper album tempers the jollity with some beef, or at least a couple of traditional rock-guitar solos, and the result is an uncharacteristic stiffness. [#11, p.125]- Blender
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At home, it's hard to see the point of these whiny raps, tongue-in-cheek R&B jams and lo-fi funk grooves. [#13, p.93]- Blender
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Unlike some other singers, Timberlake never seems a puppet of his hot producers. [#12, p.154]- Blender
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Yanqui U.X.O.'s five long tracks unfold in distinct movements, like symphonic '70s prog, but with rawer, emotional atmospherics. [#13, p.93]- Blender
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The raw, first-take sound of most of these songs is impressive--Suicide remain the most genuinely punk of electronic bands. [#11, p.144]- Blender
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There's something forgettable and half-finished about a lot of it. [#11, p.124]- Blender
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Uncommonly rich and unfashionably gynocentric, Scarlet's Walk makes the personal universal, using the stories of women lost, left and unseen to chart a map of the American psyche. [#11, p.124]- Blender