Clash Music's Scores

  • Music
For 1,997 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 0.3 points lower than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 Goodbye Yellow Brick Road [40th Anniversary Edition]
Lowest review score: 10 Wake Up!
Score distribution:
1997 music reviews
    • 88 Metascore
    • 60 Critic Score
    While each of the band's EPs were like short, sharp gut-shots, Vile Child feels diluted in comparison, and as such is a record that shows plenty of promise, but not one that will change lives.
    • 87 Metascore
    • 60 Critic Score
    It's a bold and stark opus worthy of attention, if your attention span is long enough.
    • 87 Metascore
    • 60 Critic Score
    Random Access Memories confuses, disappoints and grates.
    • 85 Metascore
    • 60 Critic Score
    Bleak as you like, but strangely cathartic in many places, it's absolutely the worst album to soundtrack your Christmas lottery win. For the rest of us dour wageslaves, it's perfect.
    • 84 Metascore
    • 60 Critic Score
    Things are prone to occasional lulls with three tracks exceeding ten minutes. However, Johansson is capable of some beautifully stirring music, and when this album soars, it is a treat.
    • 83 Metascore
    • 60 Critic Score
    A beautiful recording but an occasional listen.
    • 82 Metascore
    • 60 Critic Score
    Herring’s growling vocals prevent proceedings from becoming too gloopy or nostalgic, and make Singles a new-wave treasure.
    • 82 Metascore
    • 60 Critic Score
    Whilst each track delivers exactly what is to be expected from an IAK album it is a little disappointing that there seems to have been no development from the previous outing.
    • 82 Metascore
    • 60 Critic Score
    The only maturity in their sound is towards a more ambient quarter. Elevator music not quite, but rising out of the background might be an issue.
    • 82 Metascore
    • 40 Critic Score
    The Dreaming Room is an enormously frustrating record, as Mvula clearly has it in her to be an incredible artist. But at this point in her career, she remains a orchestra in need of a conductor.
    • 82 Metascore
    • 60 Critic Score
    They’re worth the minor missteps along the way.
    • 82 Metascore
    • 60 Critic Score
    Like acid (which, again, he never touched) this record is illuminating, often inaccessible, often scary and most people would hate it. But it's still one hell of a trip.
    • 82 Metascore
    • 60 Critic Score
    More Waitrose advert than classic Wrigley’s; the Black Keys’ raw power’s been polished. Some things are meant to stay rough around the edges.
    • 81 Metascore
    • 60 Critic Score
    The real issue is that in a genre filled with imitators, many whom Deerhunter no doubt inspired, we need a bit more bang for our buck. When the oddities on this album ride so high they should have let complete weirdness take over.
    • 81 Metascore
    • 60 Critic Score
    As unconventional in approach as ever, the set extrapolates from their previous ventures and results in a confident and competent continuation of established qualities.
    • 81 Metascore
    • 60 Critic Score
    There’s a lack of precision, with a flabby middle section finding ‘Begin To Begin’, for example, looping aimlessly. Yet when it hits home, Reality Testing more than justifies Lone’s tag as one of the most flexible, dextrous producers in the game.
    • 81 Metascore
    • 50 Critic Score
    As a whole the LP’s similar tempos and approach cause the whole thing to float by like a long-lost memory, nice when you’ve clasped on to it but soon it’ll be running through your fingers and out of sight.
    • 81 Metascore
    • 60 Critic Score
    There is a defining (and high-definition) period where the mix becomes less interactive, a little noodlier, and more prey to a mass observing sway.
    • 81 Metascore
    • 60 Critic Score
    This won’t run as smoothly as her DJ-Kicks bow of 2015, and it’s not a mix you’re allowed to get comfortable with, the Siberian’s non-conformist stance playing fast and loose with the ideals of cohesion, and letting the faders lead punters astray.
    • 81 Metascore
    • 60 Critic Score
    However dreamy the music may be, mind, it's not all quite so heavenly. The main distraction is how overwrought it all is. This is especially prevalent in Granduciel's lyrics which he sings in whispered reverence.
    • 81 Metascore
    • 60 Critic Score
    Rainbow is a muddled hotch-potch that offers little beyond the fact it heralds her return. It's great to have Kesha back--it really is--but let's hope the quality improves in future.
    • 80 Metascore
    • 60 Critic Score
    Malkmus' third (or fourth depending on which folklore you believe) outing with The Jicks, is a disappointing collection of hits and misses--with the latter winning on points.
    • 80 Metascore
    • 50 Critic Score
    Serious though he may intend to be, through the combination of Williamson’s Mr. Angry rants and Andrew Fearn’s tinny keyboards, Sleaford Mods do have a tendency to sound like a bit of a novelty.
    • 80 Metascore
    • 60 Critic Score
    Little Fictions, in the end, though a welcome sign of elbow gently progressing with their formula, is a step forward feels too hesitant.
    • 80 Metascore
    • 60 Critic Score
    The Incessant has a wealth of great ideas baked into the sediment of a wholly unremarkable collection of songs but boasts enough personality to still be worth giving the benefit of your doubt.
    • 80 Metascore
    • 60 Critic Score
    As attempts at storming the mainstream go, this looks like a surefire winner, but musically it feels like a lesser take on Outkast's The Love Below.
    • 80 Metascore
    • 60 Critic Score
    You can't help but feel that the teasing at euphoria on Slow Knife would be a little less frustrating if the thing were allowed to crescendo further, and for some of that drumwork to be incorporated accordingly.
    • 80 Metascore
    • 40 Critic Score
    ‘It’s Never Over’ is this band’s best TV On The Radio impression, and ‘Porno’ almost goes G-funk: a pleasant surprise. But undercooked electronics, impotent rhetoric, too-familiar crescendo-ing structures and an overall feeling that this needs further post-production attention render Reflektor an entirely substandard album.
    • 80 Metascore
    • 60 Critic Score
    While by no means poor, this album does little to advance the reputation he has already secured, as one of the UK’s most reliable rap suppliers.
    • 80 Metascore
    • 60 Critic Score
    Production is loud and punchy and even the quiet bits aren't quiet, which makes all sixteen tracks in one sitting a bit like hard work.