Blender's Scores

  • Music
For 1,854 reviews, this publication has graded:
  • 39% higher than the average critic
  • 3% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 7.1 points lower than other critics. (0-100 point scale)
Average Music review score: 65
Highest review score: 100 Love And Theft
Lowest review score: 10 Folker
Score distribution:
1,854 music reviews
    • 51 Metascore
    • 40 Critic Score
    Album four is especially monochrome gut-check metal, so flourishes of mellow pianos or cargo-shorts funk are as welcome as a bag of Skittles in a pack of combat rations.
    • 51 Metascore
    • 50 Critic Score
    Trademark G-Unit, pakced with a few thunderous club jams and too little else. [Oct 2006, p.128]
    • Blender
    • 50 Metascore
    • 40 Critic Score
    The line between this credible Faces-cum-Skynyrd jam band's best and worst material remains slimmer than even their most ardent fanatic might hope. [Jun/Jul 2001, p.105]
    • Blender
    • 50 Metascore
    • 70 Critic Score
    There's something about the precision of the gear changes and the crisp efficiency of Rob Schnapf's production that hits the spot, however derivatively. [Apr 2004, p.134]
    • Blender
    • 50 Metascore
    • 40 Critic Score
    It's ultimately unconvincing. [Jun 2005, p.115]
    • Blender
    • 50 Metascore
    • 40 Critic Score
    Thomas's songs derive power from being derivative. [#13, p.98]
    • Blender
    • 50 Metascore
    • 40 Critic Score
    Faceless is exactly that. [May 2003, p.120]
    • Blender
    • 50 Metascore
    • 50 Critic Score
    They fluctuate between those two poles while their by-the-book hard rock continues to split the difference between Black Crowes and Guns N’ Roses--though no longer with the wit that fueled their coke-y 1999 breakout, 'Lit Up.'
    • 50 Metascore
    • 40 Critic Score
    Every chorus is a rousing tribute to overstatement. [#17, p.137]
    • Blender
    • 49 Metascore
    • 70 Critic Score
    It’s a steadfast assault, whether he’s brooding over dust in the wind ('If Today Was Your Last Day') or idealizing a girl (“She ain’t no Cinderella when she gettin’ undressed/’Cause she rocks it like the naughty Wicked Witch of the West").
    • 49 Metascore
    • 60 Critic Score
    A whip-smart, 13-song satire on FM-radio machismo and lyrical cliches. [Nov 2006, p.140]
    • Blender
    • 49 Metascore
    • 40 Critic Score
    Green's cutesy Bacharach-ish chamber pop loses all novelty after a few spins. [Apr 2005, p.118]
    • Blender
    • 49 Metascore
    • 60 Critic Score
    30STM manage a high-minded space opera of epic scope befitting prog-rock prototypes Rush. [#9, p.142]
    • Blender
    • 49 Metascore
    • 40 Critic Score
    Korn are ultra-confident, forgoing the blandishments of heavy-rock virtuoso conceptualist Michael Beinhorn, who produced their last album. [Mar 2004, p.121]
    • Blender
    • 48 Metascore
    • 60 Critic Score
    The anti-sentimentality gets a bit relentless over 18 songs. [Aug 2006, p.118]
    • Blender
    • 48 Metascore
    • 40 Critic Score
    Roman's politically spiked lyrics sound shrugged-off and flimsy. [Sep 2004, p.141]
    • Blender
    • 48 Metascore
    • 40 Critic Score
    What initially feels jubilant soon turns grating. [Jul 2005, p.115]
    • Blender
    • 48 Metascore
    • 40 Critic Score
    The End is rather ordinary--severe, belligerent riffs and vocals that sound as though singer Chud gargles molten lava. [#12, p.148]
    • Blender
    • 48 Metascore
    • 40 Critic Score
    Rossdale still has that sexy catch in his throat, but his new songs are ass, evoking a mealy-mouthed, cliché-ridden, bombastic Chris Cornell solo joint more than Bush, and whoever Auto-Tuned the vocals has some explaining to do.
    • 48 Metascore
    • 60 Critic Score
    The real problem is sounding like Alice In Chains; afloat without a genre, the gang too often turn their emotional intelligence to making kinda dark, vaguely artistic middle metal. [Sep 2005, p.138]
    • Blender
    • 47 Metascore
    • 70 Critic Score
    They are still greasy rock & rollers who know how to keep a party going. [Oct 2004, p.120]
    • Blender
    • 47 Metascore
    • 20 Critic Score
    The Five... go for the high-flown pap of '70s singer-songwriters Dan Fogelberg and Dan Hill, playing off Ondrasik's fey falsetto and fondness for lush, string-sweetened arrangements. [Mar 2004, p.117]
    • Blender
    • 47 Metascore
    • 40 Critic Score
    There's little to indicate an intrinsic personality unusual enough to demand your attention. [#10, p.118]
    • Blender
    • 47 Metascore
    • 70 Critic Score
    Perry’s creative-writing-class punch lines don’t always justify her self-congratulatory drag-queen tone. But she hiccups quirkily enough, and myriad big-name producers (from Dr. Luke to Glen Ballard) keep the new-wave synth hooks hopping
    • 47 Metascore
    • 40 Critic Score
    Begging can be sexy, too, but for SWR it’s just another joyless act by a hateful species.
    • 47 Metascore
    • 60 Critic Score
    Where past albums documented a litany of bummers, cascading melodies now airbrush moments of depression or kinkiness--even the horny groupie of 'Natural Disaster' sounds like a girl you could take home to Mom. Higgenson’s new outlook is surprising.
    • 47 Metascore
    • 40 Critic Score
    Monotonous in its R&B pleasantry. [Mar 2005, p.137]
    • Blender
    • 47 Metascore
    • 60 Critic Score
    Showcases the melodramatic but never overstated croon of a showman who, in another era, might've been a Las Vegas legend. [#14, p.135]
    • Blender
    • 47 Metascore
    • 60 Critic Score
    Singing on nearly every song, the techno star gets more up-close-and-personal here--a ballsy move for someone the Lord didn't heap with vocal gifts, but one that pays off. [Apr 2005, p.124]
    • Blender
    • 46 Metascore
    • 40 Critic Score
    Their sixth album is shambling and empty, spiked infrequently with a good bassline or an almost-good chorus, and even the jokes founder on the band’s contempt.
    • 46 Metascore
    • 40 Critic Score
    The wan, wimpy Weird Revolution relies on tired drum loops and flat rap vocals. [Aug/Sep 2001, p.121]
    • Blender
    • 45 Metascore
    • 40 Critic Score
    Consists almost entirely of antagonistic digs at 50, Eminem and Dr Dre, none of which are terribly sharp. [Jan 2004, p.105]
    • Blender
    • 45 Metascore
    • 60 Critic Score
    On this clamorous, relentless album, a violent death lurks in every bar (“Rider Pt. 2”), licentious catcalls have replaced slinky come-ons (“I Like the Way She Do It”) and guns seem to fire of their own accord (every other song here). In doses, it’s rousing. Over the course of a whole album, it’s exhausting.
    • 45 Metascore
    • 40 Critic Score
    The novelty of the all-star show has worn off, especially as the caliber of the all-stars has declined dramatically. [Nov 2005, p.140]
    • Blender
    • 45 Metascore
    • 60 Critic Score
    13 tracks of Disney-channel-ready pop, buffed and Pro-Tooled almost beyond recognition--and it's not half bad. [Apr 2007, p.111]
    • 44 Metascore
    • 40 Critic Score
    Shock gets dull, though, and Bizarre's bloated debut is profoundly unfunny. [Jul 2005, p.115]
    • Blender
    • 44 Metascore
    • 80 Critic Score
    Fans of the Stooges' early-'70s masterpieces wondered what they would have sounded like with a big-league budget. Here's the answer: loud, surly and still barely civilized. [Apr 2007, p.120]
    • Blender
    • 44 Metascore
    • 20 Critic Score
    A low-rent version of the Streets without Mike Skinner's wit, they're just a couple of palookas mouthing off in the pub. [Nov 2005, p.131]
    • Blender
    • 43 Metascore
    • 60 Critic Score
    For most of Charmbracelet, she sticks to a gauzy, breathy, phone-sex coo, muzzling her inner diva until the final verse or a few ultrasonic high notes in the fade-out. [#13, p.92]
    • Blender
    • 43 Metascore
    • 30 Critic Score
    The songs are soggier, the sentiments more banal. [Dec 2005, p.154]
    • Blender
    • 43 Metascore
    • 30 Critic Score
    Kravitz has evolved merely from one set of retro-’70s surfaces to another, with uncharacteristically uninspired hooks.
    • 42 Metascore
    • 40 Critic Score
    Their collaboration suggests a nice philosophical dissonance, but only in theory. In practice, Scream is nearly awful.
    • 42 Metascore
    • 20 Critic Score
    Though The Great American Songbook is bad, it's not shamefully bad--if only because it's too tasteful to risk sinking that low. [#11, p.143]
    • Blender
    • 42 Metascore
    • 20 Critic Score
    This mismatched combo brings out the best in each other only on the refreshingly lightweight 'Call Me.' [Nov 2008, p.76]
    • 41 Metascore
    • 50 Critic Score
    Mostly he just sounds bored, a pretty boy tired of being denied his inner turmoil.
    • 41 Metascore
    • 60 Critic Score
    14 Shades is nominally heavier than the group's two previous albums, though the band tempers its harsher instincts to let Lewis ruminate unmolested. [Aug 2003, p.132]
    • Blender
    • 40 Metascore
    • 40 Critic Score
    Never Gone's rock ballads are painfully and sometimes powerfully earnest demands for meaning and redemption. [Aug 2005, p.108]
    • Blender
    • 40 Metascore
    • 80 Critic Score
    Beneath the highlights, she's still a messy troublemaker whose brain is as spicy as the rest of her body. [#17, p.146]
    • Blender
    • 40 Metascore
    • 40 Critic Score
    Despite scattered flashes of uncharacteristic lightness, she rarely tempers the fury that drove the originals with the more accepting perspective that's guided her subsequent efforts. [Jul 2005, p.119]
    • Blender
    • 39 Metascore
    • 30 Critic Score
    Isaacs’s indistinct, flannel-waving wail doesn’t add anything to these titanic anthems of soul and struggle, which don’t say much beyond: Dave Navarro, still breathing, still taking meetings.
    • 37 Metascore
    • 40 Critic Score
    Without the blue-eyed soul conviction of the original, it's enough to make even second-tier grunge has-beens like Seven Mary Three seem like innovators. [Dec 2003, p.145]
    • Blender
    • 35 Metascore
    • 10 Critic Score
    One
    Exhaustingly awful. [Dec 2004, p.140]
    • Blender
    • 34 Metascore
    • 40 Critic Score
    There is little... to compare with either the work of his Genesis heyday or his still heartbreaking 1981 solo debut. [#12, p.139]
    • Blender
    • 28 Metascore
    • 30 Critic Score
    The nu-metal and new wave sendups are too conventional to work as either comedy or music--and the nonstop woman-bashing becomes repugnant fast. [Nov 2005, p.131]
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