Clash Music's Scores

  • Music
For 2,102 reviews, this publication has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 0.4 points lower than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 Bad as Me
Lowest review score: 10 Wake Up!
Score distribution:
2102 music reviews
    • 83 Metascore
    • 80 Critic Score
    If you’re looking for a 3am club techno sound, then this record probably isn’t for you; its delicacy makes rather for an introspective experience.
    • 81 Metascore
    • 70 Critic Score
    If 'Fleet Foxes' was an unbroken hike up from the foothills into the peaks of the Appalachians, 'Crack-Up' is more like the winding train ride home.
    • 86 Metascore
    • 90 Critic Score
    As an album, though still swinging from one place to another with glee, The Underside Of Power feels important, and very, very serious, as a body of work. It is one of the year’s very best albums, and sets out Algiers as one of the decade’s very best bands.
    • 78 Metascore
    • 70 Critic Score
    To hear tracks like ‘Dizzy Dizzy’ or ‘Halleluwah’ hacked down to mere Can-ettes for the humble 7” format feels a little like trying to make sense of a vast painted canvass simply by focusing on, say, the top left corner. Once you get over that, with singles typically being the most accessible or marketable moments in a band’s trajectory, this collection represents a superb introduction to the Can catalogue for anyone lacking the willpower or patience to trawl their albums or the goldmine of material presented on 2012’s essential ‘The Can Tapes.’
    • 73 Metascore
    • 80 Critic Score
    An intense, ingenious and utterly insane listen, Murder Of The Universe is another brilliant addition to King Gizzard's already stellar and ever-expanding discography.
    • 84 Metascore
    • 80 Critic Score
    Songhoy Blues have once again produced an album for all. The small-minded stamp of ‘world music’ does not apply here (or should anywhere really). This is quite simply a record for anyone ready to get down to some beautiful rhythms.
    • 70 Metascore
    • 70 Critic Score
    With a plethora of guest spots adding some serious variety to the already sonically multifarious album, hearing Big Boi go back and forth with the likes of Kurupt, Snoop Dogg, Eric Bellinger, and even Adam Levine of Maroon 5, makes it all the more fun.
    • 71 Metascore
    • 80 Critic Score
    Eight of these nine tracks constitute the best album for night driving under city street-lights since Growler's estimable ‘City Club’.
    • 70 Metascore
    • 70 Critic Score
    Never deviating from course, Sugar At The Gate adds one more stitch to the tightly-wrapped DNA that makes TOPS so immersive and enjoyable, its ten glossy songs bearing all the marks of a band that has taken yet another step toward mastering their craft.
    • 81 Metascore
    • 80 Critic Score
    All ten tracks, and their accompanying dub allies, have the presence and sound to claim dancehalls by the fistful.
    • 71 Metascore
    • 70 Critic Score
    A fine goodbye filled with easy charm and style.
    • 76 Metascore
    • 70 Critic Score
    At times Wolves' polished, pop-tinged punk sounds more like a proffered Pepsi can than a clenched Molotov cocktail, but it is still punk to its bones in a time when the label tends to be skin-deep.
    • 75 Metascore
    • 50 Critic Score
    The dirges are ditched, yet the previous elements they made their name with are overdone.
    • 68 Metascore
    • 80 Critic Score
    This is a beautiful album that’s as absorbing as it is emotionally affecting.
    • 72 Metascore
    • 80 Critic Score
    The final result is a debut album brimming with confidence, confidence not only in Lipa’s own voice and her eye for a chorus, but in the emotive quality of her lyrics.
    • 65 Metascore
    • 80 Critic Score
    They’ve created something quite distinct from their former work. In this regard, Relaxer places them firmly back on track.
    • 74 Metascore
    • 70 Critic Score
    A fun and colourful indie album full of pop sensibilities, Different Days is a joy from start to finish and is further indication that Tim Burgess and co. show no sign of stopping.
    • 79 Metascore
    • 60 Critic Score
    I Used To Spend So Much Time Alone sees the Seattle group recede deeper into their comfort zone with a batch of tracks that are lukewarm at best.
    • 72 Metascore
    • 60 Critic Score
    As a musique concrète or experimental electronica album, Burials In Several Earths is an above average attempt that contains myriad intricacies and points of interest. As something to carry on a peerless lineage, however, it feels like an unnecessary move.
    • 74 Metascore
    • 80 Critic Score
    In short, it’s a low-key gem.
    • 64 Metascore
    • 80 Critic Score
    Presenting a portfolio of some of the best ‘rawk’ songs 2017 has to offer, The Amazons have remained consistent and have begun to embed themselves into the rich tapestry of rock ‘n’ roll with a bolshy stadium sound. If it ain’t broke...
    • 82 Metascore
    • 80 Critic Score
    His most well-rounded, diverse, and unrelenting body of work to date.
    • 77 Metascore
    • 80 Critic Score
    Much like the show itself this is a wonderfully crafted set (check out the deluxe ‘condiment’ vinyl), which is at times both smart, sweet and very, very, stupid.
    • 65 Metascore
    • 30 Critic Score
    This time, reckless abandon is replaced by forced jollity and the vibe turns from head trip to school trip.
    • 78 Metascore
    • 70 Critic Score
    The act-to-act cohesion is seamless, as is the recreation of rigid techno militancy, and should be met with at least one bouquet brought to the stage.
    • 71 Metascore
    • 70 Critic Score
    Originally whittled down from 40 songs Williams had penned from a jumble of sample-led ideas, You’re Welcome nonetheless features Wavves proverbial fuzzy guitar distortions and surf vibes, but includes his explorative forays into ‘70s psychedelia from South America, Cambodian pop and his obsession of ‘50s doo-wop.
    • 78 Metascore
    • 80 Critic Score
    United States Of Horror is wired on a different kind of anger--these tracks seethe with violence and disgust, raging at dark political orders, economic inequality, racial tension and fractured society.
    • 84 Metascore
    • 90 Critic Score
    Live up to the hype? The short answer is ‘yes.’ The slightly longer answer is ‘yes, but not as you’d expect it to.’ Funnily enough, the record packs something of a slow burn effect.
    • 68 Metascore
    • 70 Critic Score
    With his debut, Styles manages to escape the notorious curse of former boy banders, turned leading men, creating an immersive, reference-fuelled tribute to classic rock for the millennial generation.
    • 95 Metascore
    • 90 Critic Score
    Compiled by Nick Cave and founding member Mick Harvey, the three-disc editions offer 45 tracks to explore the thrilling journey of one of the planet’s most uncompromising and enigmatic groups. All your standards are here.