Clash Music's Scores

  • Music
For 1,280 reviews, this publication has graded:
  • 58% higher than the average critic
  • 3% same as the average critic
  • 39% lower than the average critic
On average, this publication grades 0.2 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 Until One
Score distribution:
1,280 music reviews
    • 53 Metascore
    • 30 Critic Score
    It’s all very pretty sounding on paper, but in reality lazily produced and poorly written.
    • 63 Metascore
    • 30 Critic Score
    Plods along with an overproduced pompousness that falls somewhere between boring and annoying.
    • 59 Metascore
    • 30 Critic Score
    Anna is full of uninspired and recycled riffs starkly illuminated by the God awful woe-is-me-I’m-northern lyrics.
    • 62 Metascore
    • 30 Critic Score
    Of course groups should look to change and evolve, but this is solipsism at its worst.
    • 60 Metascore
    • 30 Critic Score
    Moby’s attempts to paper over a demonstrable lack of songwriting inspiration with grand string arrangements and a sequence of guest collaborators only emphasises the tedium here.
    • 73 Metascore
    • 30 Critic Score
    B-Room is offensively inoffensive.
    • 51 Metascore
    • 30 Critic Score
    As his flow goes off at a regular double time that his chart-scaling peers can only dislocate their jaws for, Dizzee’s personality shrinks into a tediously shallow pool of female ogling, obeying your thirst and his latest holiday snaps.
    • 59 Metascore
    • 30 Critic Score
    The classical elements are independently pleasing--as you’d expect when elements of Shostakovich, Mozart and so on are used--but by drenching it all in commercial dance production, the supposed ‘fusion’ becomes a bastardisation.
    • 45 Metascore
    • 30 Critic Score
    Green is never going to be a gritty rapper--but even taken as a straight-up pop-rap record, Growing Up In Public is disappointingly tame.
    • 69 Metascore
    • 30 Critic Score
    The Past, The Present, The Future has rebooted more of the bad tropes from that era than the good.
    • 62 Metascore
    • 20 Critic Score
    This album might satiate the seasoned Kasabian fan, but for anyone else it just comes across as the dated output of false prophets.
    • 63 Metascore
    • 20 Critic Score
    This LP is hopelessly devoid of ideas.
    • 58 Metascore
    • 20 Critic Score
    As an album in its own right it is terrifically tedious, 40-something minutes of mindless, meandering muso-muscle flexing with a never-more-limp ineffectiveness.
    • 67 Metascore
    • 20 Critic Score
    Derulo has stripped away all of those oddities to focus purely on the music and, in the process, has lost much of what sets him apart from the pack.
    • 50 Metascore
    • 10 Critic Score
    This latest offering is meandering chirpy slobber that sounds more boy band than ever.
    • 53 Metascore
    • 10 Critic Score
    To account for the offensively retrospective nature of this trawl of commonplace dance-floor garbage (we're talking Coldplay, Candi Staton and Justice), I must assume, first, that they spent the last two years in a timewarp somewhere between 1993 and 2006. And secondly, that they spent this time in trashy commercial nightclubs, where glowsticks never die, dancefloors rotate and there's a price reduction for hen parties.
    • 57 Metascore
    • 10 Critic Score
    'Electra heart' is an ingloriously languid statement of Marina's demise, the final stamp of disapproval on her flailing excuse of a musical career.