Clash Music's Scores

  • Music
For 1,102 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 0.4 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:
1,102 music reviews
    • 100 Metascore
    • 100 Critic Score
    Never bettered, this is the world’s greatest rock ‘n’ roll band’s crowning triumph. Own this!
    • 88 Metascore
    • 100 Critic Score
    A work of pure, true genius.
    • 90 Metascore
    • 100 Critic Score
    You don't even need to know about the box-set's extras: if teenage angst is the root of rock and roll, then 'Quadrophenia' is its definitive statement.
    • 92 Metascore
    • 100 Critic Score
    A glittering glam-pop bounty of androgynous pop bots, dock prostitutes, Depression-era outlaws, cowboys and nun-baiting schoolgirls, GYBR remains a vital and versatile vision of brilliance that deserves to be heard.
    • 99 Metascore
    • 100 Critic Score
    This masterpiece isn’t dulling any time soon. Working on the premise that they were Generation X’s own Velvet Underground, this is their ‘White Light/White Heat’, and one of the most important rock records of all time.
    • 73 Metascore
    • 90 Critic Score
    Amongst the army of incredible contributors, all unified by melancholic production drawn from the ether of another age, David Lynch's star shimmers brightest.
    • 82 Metascore
    • 90 Critic Score
    If you love the ambiguous crossover between half-step London sounds and crushed and warped 4/4 peddled by the likes of Martyn, Burial or Joy Orbison, then the love in you will find this album.
    • 83 Metascore
    • 90 Critic Score
    Showing clear progression and monumental ambition, TNP have crafted a stark and dense knockout performance.
    • 82 Metascore
    • 90 Critic Score
    Some of the riffs are quite incredible ('A More Perfect Union'), and the general effect of the whole album is that the listener will want to weep and dance simultaneously. Simply brilliant.
    • 81 Metascore
    • 90 Critic Score
    Her second album is an enchanting collection of beautifully raw songs, the faint trace of tape-hiss in the quieter moments combined with the rootsy feel of songs.
    • 76 Metascore
    • 90 Critic Score
    Go
    As his main band disappears into "indefinite hiatus", console yourself with the knowledge that Birgisson has just made the best record of his career.
    • 79 Metascore
    • 90 Critic Score
    It’s Buzzcocks-goes-Daniel Johnston, with a little Guided By Voices on the side, erudite and desperate, and everything mentioned above and yet a lot, lot more. And it’s a pleasure to share it, and them, with you.
    • 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.
    • 92 Metascore
    • 90 Critic Score
    First spewed forth in 1973 this blend of Iggy's guttural moanings and James Williamson's precise spiky guitars is rightly regarded as one of the most seminal, ferocious, uncompromising, crude, sleazy, nihilistic rock albums of all time.
    • 73 Metascore
    • 90 Critic Score
    Although the album is full of brilliance, album opener ‘Marina’ stands headstrong above the others in terms of scope and grandeur, a dirty distorted guitar solo coupled with an African style instrumental and tribal chorusing sees ‘Fever’ go from commendable to a masterpiece.
    • 80 Metascore
    • 90 Critic Score
    It's less immediate than previous material, but nevertheless absorbs the magic of the world, distilling it into ten slices of trembling, impassioned rock 'n' roll.
    • 68 Metascore
    • 90 Critic Score
    M.I.A. stands alone in her own world of pop firing out her mercurial messages, which are as complex as they are captivating. MAYA is a towering work that makes a mockery of rivals and genres.
    • 87 Metascore
    • 90 Critic Score
    Further proof that The Arcade Fire may indeed be the best band on the planet.
    • 77 Metascore
    • 90 Critic Score
    The Eel Pie Islanders' sees the band mature as songwriters, which should attract the mainstream attention that's so overdue them.
    • 78 Metascore
    • 90 Critic Score
    It's predictably brilliant; another display of Dear's dazzling musical imagination.
    • 75 Metascore
    • 90 Critic Score
    Somewhat removed from the robust radio friendly pop of their first Hoffer collaboration The Life Pursuit, this latest record inhabits a more delicate sonic framework, reminiscent of early B & S.
    • 80 Metascore
    • 90 Critic Score
    Lucky Shiner is one of the most innovative and mind-melding albums of the year and one that just keeps on giving.
    • 94 Metascore
    • 90 Critic Score
    This is not just West's best album, it's a keen contender for the most ambitious LP in hip-hop history. West side story!
    • 76 Metascore
    • 90 Critic Score
    21
    Adele is sincere, poignant and affecting throughout; the emotive 'Someone Like You' closes the album magnificently.
    • 81 Metascore
    • 90 Critic Score
    His are fragile, beautiful songs floating over warmly alien, sometimes seemingly formless musical structures yet it's an effect borne through unconventional levels of space and patience.
    • 69 Metascore
    • 90 Critic Score
    Few albums this year will match up to the level of proficiency and commitment here and yet it remains a distinct probability that the world still won't listen. An album that will shadow most others.
    • 83 Metascore
    • 90 Critic Score
    We're New Here is a psychedelic atlas with which we can all sonically voyage upon. A great way to start the year.
    • 76 Metascore
    • 90 Critic Score
    Joyous, pensive, cathartic and hymnal in equal measure, this is the human condition set to music.
    • 74 Metascore
    • 90 Critic Score
    Gimme Some, sixth album from Swedish indie pop types Peter, Bjorn And John, is absolutely superb; sunshine and a hundred beach parties stuffed into thirty minutes, sprightly and joyous, cool, confident and glossy.
    • 76 Metascore
    • 90 Critic Score
    Dirty, loud and intimidatingly sexy, Blood Pressures is the result of a year spent apart - Hince's adventures in sound provide the album's thick production, while Mosshart's stint as Dead Weather frontwoman instils further confidence and swagger in her provocative lyrics.
    • 58 Metascore
    • 90 Critic Score
    As lyrically profound as ever, yet with a tinge of detached romantiscm. Pioneers they remain.
    • 80 Metascore
    • 90 Critic Score
    C'mon is such a delight, simultaneously luscious in their orchestration and muted in their delivery. Beautiful.
    • 85 Metascore
    • 90 Critic Score
    Smother does exactly what it suggests but with a poetic fragility and an exacting panache that enthrals and entices like never before. An essential album.
    • 73 Metascore
    • 90 Critic Score
    Finely crafted folk is elevated towards greatness by the stunning voice of Alessi Laurent-Marke.
    • 79 Metascore
    • 90 Critic Score
    [Gloss Drop] is one of the most startling, visually emotive albums we've heard in years. Vividly audacious.
    • 71 Metascore
    • 90 Critic Score
    Mirror Mirror is a raw, nocturnal and very northern record, and one that's nailed its bleeding, hedonistic colours high up the musical mast.
    • 83 Metascore
    • 90 Critic Score
    Gone is the Primary Colours influences of Portishead's Geoff Barrow, or the punchy impatience of Strange House, and in that place stands an intellectually collective five-piece, fully immersed in the confidence of their own astonishing abilities.
    • 76 Metascore
    • 90 Critic Score
    Everything here is gorgeously sung and this woozy, gently uplifting collection of songs is pretty close to perfect.
    • 68 Metascore
    • 90 Critic Score
    By stripping back the layers of overbearing electronic production of the past, they've recorded an album of lush and elegant pop music, beguiling and gloriously cinematic.
    • 83 Metascore
    • 90 Critic Score
    An excellent return.
    • 79 Metascore
    • 90 Critic Score
    This music really doesn't need any window dressing because it's as good a collection of songs as she has put her name to in ten years.
    • 79 Metascore
    • 90 Critic Score
    He has fateful serenity tangling with rudebwoy pluck through crackly pirate radio reception, smuggling in head-scratching interludes - field recordings seemingly from the club's toilets/smoking section - and one '70s synthesizer pitstop.
    • 72 Metascore
    • 90 Critic Score
    Sounding fifty years out of time and traversing genres without concern, it is unlike anything else you will hear this summer. And you really must hear it.
    • 75 Metascore
    • 90 Critic Score
    The only real criticism of Ceremonials is that this album is completely, relentlessly, Florence. Her fans will lap it up, while those who aren't keen on her will probably remain unconvinced.
    • 85 Metascore
    • 90 Critic Score
    She's brilliant, sometimes inspired, and this tenth studio album finds her gifts undiminished.
    • 69 Metascore
    • 90 Critic Score
    I have seen the future of dreamy pop, and its name is The Maccabees.
    • 79 Metascore
    • 90 Critic Score
    She may not take life too seriously, but when it comes to making divine music, Beth means business.
    • 75 Metascore
    • 90 Critic Score
    This is a confident, bold and captivating record, and one which is dominated by that beguilingly ragged voice.
    • 80 Metascore
    • 90 Critic Score
    Stuffed with bomb-ass beats and rhymes that will bang from Cali to Darlington.
    • 62 Metascore
    • 90 Critic Score
    Imbued with a rupturing rave-punk sensibility.
    • 81 Metascore
    • 90 Critic Score
    'R.I.P.' is both an update on the bass explorations of restless Britain and perhaps a timeless thesaurus of blistered tones and ideas that younger producers will beg, borrow and steal from for years to come.
    • 81 Metascore
    • 90 Critic Score
    It's hyper real hip-hop made just in time for the end of the world.
    • 77 Metascore
    • 90 Critic Score
    An unconventional masterpiece.
    • 77 Metascore
    • 90 Critic Score
    The maker and breaker of neon daisy chains, 'Galaxy Garden' is a fantasia that's as lush as a chain of soap shops.
    • 93 Metascore
    • 90 Critic Score
    [Loveless] not only stands the test of time, but transcends it. Songs like 'When You Sleep' sound as inventive now and would outshine much of the crop of young pretenders... Remains an archetypal classic.
    • 71 Metascore
    • 90 Critic Score
    Young, yet somehow void of naivety. Vibrant, yet artistically matured.
    • 77 Metascore
    • 90 Critic Score
    A peerless left-field masterpiece.
    • 92 Metascore
    • 90 Critic Score
    Channel Orange demands to be listened to in a single sitting.
    • 74 Metascore
    • 90 Critic Score
    It makes for a stark--often chilling, often exhilarating--collection of music that spans the genre(s), from the well-known to the esoteric, the accessible to the impenetrable.
    • 75 Metascore
    • 90 Critic Score
    Centepede Hz is somehow both futuristically innovative and welcomingly accessible. Amid the obscurantism caused by white noise and radio interference are strong choruses likely to get any form of life dancing.
    • 83 Metascore
    • 90 Critic Score
    It's a masterpiece.
    • 88 Metascore
    • 90 Critic Score
    Hypno-grooving at its best.
    • 83 Metascore
    • 90 Critic Score
    A very welcome return.
    • 88 Metascore
    • 90 Critic Score
    An exhausting and thoroughly absorbing set.... It is a record that everybody should own. Meticulous, majestic, momentous.
    • 80 Metascore
    • 90 Critic Score
    {Awayland} is just brilliant.
    • 78 Metascore
    • 90 Critic Score
    II
    The Portland-based psych-rock outfit’s second album is an absolute triumph.
    • 76 Metascore
    • 90 Critic Score
    It’s a dense work that’ll be discovered thriving equally happily in the niche of teenage bedrooms as in underground cults and a nebulous haze of mushrooming Mixcloud communiqués extending over the horizon.
    • 81 Metascore
    • 90 Critic Score
    Potent in its masculine restraint, this record has surely always existed, just waiting to be plucked from the surf; a mercurial, magisterial, stick of seaside rock.
    • 67 Metascore
    • 90 Critic Score
    It's a gem for Harcourt fans and the sweetest of introductions for new listeners.
    • 77 Metascore
    • 90 Critic Score
    Sad, weird, beautiful, fiercesome; music to move and excite. [Apr 2013, p.97]
    • Clash Music
    • 82 Metascore
    • 90 Critic Score
    Rest assured, his remarkable voice and grasp of melody remain undimmed and while it may not sound exactly as you were expecting, it is a bold, distinctive and genuinely excellent record.
    • 75 Metascore
    • 90 Critic Score
    The North Borders is a triumph--each listen is a revelation; seemingly it’s a breadth of work that marks a new, exciting era of electronic music.
    • 82 Metascore
    • 90 Critic Score
    Overgrown remains closer knit, and paradoxically less fragmented than its illustrious predecessor, ideas rotating core values guided by an affirmatively unseen hand. Which ultimately makes this an even better record.
    • 82 Metascore
    • 90 Critic Score
    There is a modern, angry masterpiece in here--just skip the manifesto.
    • 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.
    • 70 Metascore
    • 90 Critic Score
    Four is an accessible album, filled with heavy questions about what love really means, posed through sensitive and dramatic arrangements.
    • 71 Metascore
    • 90 Critic Score
    An unassuming and bewitching masterpiece.
    • 84 Metascore
    • 90 Critic Score
    This set of tracks will stand with their most masterful.
    • 77 Metascore
    • 90 Critic Score
    Some of the tracks cry out for a bar or two to be spat over, but when you hear that hollow synth on Teeza’s ‘Rum And Coke’, you’ll be sold on the grime renaissance.
    • 86 Metascore
    • 90 Critic Score
    Without doubt, this is one of the folk albums of the year.
    • 85 Metascore
    • 90 Critic Score
    Thankfully, they’ve saved their finest ideas for Tomorrow’s Harvest, which burns as brightly as anything they have accomplished thus far
    • 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.
    • 92 Metascore
    • 90 Critic Score
    A record everyone with half an experimental ear should experience, even if they run from it, screaming.
    • 66 Metascore
    • 90 Critic Score
    It’s a beautifully sunny, unashamedly melodic tour de force which pitches up somewhere between a fevered Beatles obsession and a well-loved pile of Go-Betweens records.
    • 64 Metascore
    • 90 Critic Score
    10 tracks of soul-bearing introspection swathed in layers of rich reverb, icy chill and ephemeral echoes of 30 years of synth pop.
    • 69 Metascore
    • 90 Critic Score
    This one will grow and reward with every new listen, as you get to know the troubled character behind the barbed words.
    • 74 Metascore
    • 90 Critic Score
    II
    II is an absolute masterpiece of dancefloor work.
    • 64 Metascore
    • 90 Critic Score
    San Diego’s Crocodiles have absolutely nailed album number four.
    • 88 Metascore
    • 90 Critic Score
    Although it takes more than a couple of listens for Loud City Song to feel like a cohesive album, the reward once you do is well worth the outlay.
    • 75 Metascore
    • 90 Critic Score
    What might be the most understated and confident album of the summer.
    • 81 Metascore
    • 90 Critic Score
    This is mood-manifesting music of exceptional quality, experimental electronic fare of substance and, crucially, heart.
    • 71 Metascore
    • 90 Critic Score
    Every track gives you something new and exciting, while holding tightly on to Emilíana’s flawless voice and melodies.
    • 80 Metascore
    • 90 Critic Score
    The Bones Of What You Believe is an exceptionally strong debut where every track is a potential single.
    • 70 Metascore
    • 90 Critic Score
    A strong, engaging return to form, Mechanical Bull is made to ride. Strap in and enjoy.
    • 90 Metascore
    • 90 Critic Score
    It’s not as shiny as ‘Nevermind’, nor as raucous as ‘Bleach’; it’s not as sensibly realised as it would have been has DGC had entirely their own way, but nor does it completely kick against Cobain and company’s prior achievements.
    • 79 Metascore
    • 90 Critic Score
    This is written by someone who’s a kid right now, about what it is to be young right now. Consequently, this isn’t a “you” and “I” album. It’s a “we”, “us” and “them” album.
    • 80 Metascore
    • 90 Critic Score
    Most bands master a sound, but there’s the distinct feeling here that TOTS are merely vessels for a force operating somewhere beyond our comprehension of what can, and does, qualify as pop music.
    • 86 Metascore
    • 90 Critic Score
    The Betas were a formidable live band, and the radio session tracks here are as good as, and sometimes better than, their studio counterparts. There’s little in the way of actual rarities, though.
    • 74 Metascore
    • 90 Critic Score
    Antiphon is going to divide opinion, but give it a chance--it might just be the best thing they’ve ever done.
    • 68 Metascore
    • 90 Critic Score
    Another impressive feather in one of the most versatile caps in Parisian pop music.