Clash Music's Scores

  • Music
For 1,193 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.3 points higher than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 Spiderland [Box Set]
Lowest review score: 10 Electra Heart
Score distribution:
1,193 music reviews
    • 85 Metascore
    • 80 Critic Score
    A fabulous album, confirming St. Vincent's status as a deeply talented artist.
    • 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.
    • 85 Metascore
    • 90 Critic Score
    Beyoncé’ is one of the best damn albums of 2013, basically, however you’re looking at it: as an R&B record, a pop set, an electro collection. Whatever your tastes, you can’t question the quality here.
    • 85 Metascore
    • 80 Critic Score
    The accompanying DVD features an early performance by this line-up, which is a mildly diverting if sonically unspectacular curio alongside a still largely splendid record.
    • 84 Metascore
    • 80 Critic Score
    There’s nothing nostalgic here--it’s the sound of a band reborn, rather than one reformed. And yes, it’s well worth the wait.
    • 84 Metascore
    • 90 Critic Score
    An awesomely designed underground rising.
    • 84 Metascore
    • 80 Critic Score
    A synth heavy, angst ridden, paranoia-fuelled musical monolith filled with catchy hooks, heavy drums and nods of the cap towards Dubstep.
    • 84 Metascore
    • 90 Critic Score
    Suffused with an indefinable sense of melancholy, the likes of ‘I Can Change’, ‘Home’ and ‘Dance Yrself Clean’ instil the rubbery electro with a tangible soul - whilst ‘Drunk Girls’ delivers a giddy hit of bony post-punk.
    • 84 Metascore
    • 80 Critic Score
    Sleigh Bells' novelty though, lies in a tingling barrage of granular guitar distortion and overdriven, over-compressed girl-pop squall.
    • 84 Metascore
    • 90 Critic Score
    This set of tracks will stand with their most masterful.
    • 84 Metascore
    • 80 Critic Score
    Spine-tinglingly brilliant.
    • 84 Metascore
    • 70 Critic Score
    This is West’s most polarizing record to date, yet the discussion surrounding it gives a healthy charge to a rap game saturated with the same ol’ same ol’. So no, Yeezus isn’t a great record, but it doesn’t have to be.
    • 84 Metascore
    • 90 Critic Score
    Everything suggests that, on the strength of this set, The Land of the Brave won’t need a referendum to prove its independence.
    • 84 Metascore
    • 80 Critic Score
    Our Love is a record that feels distinctly his own, accessible yet containing minute touches that you’ll need to listen to many times to appreciate.
    • 84 Metascore
    • 80 Critic Score
    They’re reborn, revitalised, and really rather good.
    • 84 Metascore
    • 80 Critic Score
    A U R O R A is both testing of boundaries and transcendental of beauty.
    • 84 Metascore
    • 90 Critic Score
    Overall, Modern Vampires Of The City conveys one hell of a sense of permanence from a band that once seemed ephemeral and frivolous.
    • 84 Metascore
    • 80 Critic Score
    Produced by man of the moment, Danger Mouse, the sound remains unmistakably Black Keys but adds further dimensions to what is already a winning mix.
    • 84 Metascore
    • 80 Critic Score
    Here, we hear hints of funk, jazz, Americana and folk--and before you know it, the album’s ingrained itself.
    • 84 Metascore
    • 90 Critic Score
    It doesn’t challenge expectation, but equally it does nothing, puts nary a single step wrong, to risk their reputation as a preeminent act of their kind, and of our times.
    • 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.
    • 84 Metascore
    • 90 Critic Score
    Passion is a puzzling thing, expressed in myriad manners. But it can never be fabricated, and Ought’s heated brand of it is amongst the most bracing sounds anyone can encounter in 2014.
    • 84 Metascore
    • 80 Critic Score
    A daydream-like haze smudges the crispness of the beats while Lewis sings his osmotic melodies, his tones akin to Richard Swift gone disco.
    • 84 Metascore
    • 80 Critic Score
    Lean, mean and as uncompromisingly focused as its maker, this is an album for everyone's collection, and whilst Weller is perhaps not the man he once was, the man he is now is most definitely still a force to be reckoned with.
    • 84 Metascore
    • 70 Critic Score
    Sure, the combination of digital bleepage and raaawk! is nothing new, but few electronic bands have rocked quite so hard as these guys do.
    • 84 Metascore
    • 80 Critic Score
    Broadly eclectic throughout, it's a buoyant return.
    • 83 Metascore
    • 90 Critic Score
    All one can do is let the album play through again, though, is indicative of the great power this exhibition of completely engrossing, electrifyingly ambitious avant-dance(hall) possesses.
    • 83 Metascore
    • 90 Critic Score
    Fragile yet utterly destructive, this wolf in sheep’s clothing will hurl you five ways and leave you hovering over a bleak abyss. In a great way, obviously.
    • 83 Metascore
    • 70 Critic Score
    Old
    It’s clear Danny is dealing with some demons, but his issues don’t dampen the mood.
    • 83 Metascore
    • 80 Critic Score
    Driven by demons and fired by fury, 'Blunderbuss' is a turbulent insight into one man's wrath - but it rocks. Hard.