CMJ's Scores

  • Music
For 725 reviews, this publication has graded:
  • 67% higher than the average critic
  • 6% same as the average critic
  • 27% lower than the average critic
On average, this publication grades 2.1 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 90 Too Bright
Lowest review score: 30 IV Play
Score distribution:
  1. Negative: 1 out of 725
725 music reviews
    • 81 Metascore
    • 80 Critic Score
    Bradley’s sophomore album, Victim Of Love, burns hard and slow.
    • 80 Metascore
    • 70 Critic Score
    The combination is ethereal and transcendent.
    • 80 Metascore
    • 80 Critic Score
    The chemistry is electric, but Hair's most rowdy, rewarding moments occur when Segall and Presley's respective genre sensibilities clash instead of compromise.
    • 80 Metascore
    • 80 Critic Score
    Nobody Wants To Be Here And Nobody Wants To Leave will do more than satisfy existing fans of the band; new fans too would do well to start here.
    • 80 Metascore
    • 80 Critic Score
    Sahel Folk is a steadily moving work of clean sound not typically found in live works.
    • 80 Metascore
    • 80 Critic Score
    Dye It Blonde blows away the fuzz and polishes the scratchy sounds off their last recordings, revealing a whole lot of something we didn't hear before.
    • 80 Metascore
    • 80 Critic Score
    These songs seamlessly trickle from one to the next in a perfect collection of sounds, showcasing both complexity and musical depth in this mostly instrumental music.
    • 80 Metascore
    • 80 Critic Score
    The Golden Age Of Apocalypse is all warm vibes and morning sex instead of Cosmogramma's seriously zonked and far-out space grooves-light and airy melodies carried out on bass with the tinkle of synth and keyboard, clear uptempo drumlines and a high soul-influenced singing voice doused in reverb.
    • 80 Metascore
    • 80 Critic Score
    No Kings provides a kind of artistic oasis, a glimpse into how great hip-hop can be when placed in talented hands.
    • 80 Metascore
    • 80 Critic Score
    That sweetness is exactly what we need after devouring the indulgent, carb-heavy, extra-sauce sound that is Drop, and (at the risk of allowing this metaphor to spiral further), we leave feeling totally satisfied and craving more at the same time.
    • 80 Metascore
    • 70 Critic Score
    These songs won’t convert skeptics, but they’ll give the faithful a few bloody noses.
    • 80 Metascore
    • 80 Critic Score
    While Marissa Nadler is more musically complex than earlier records, she maintains her overall aesthetic, both bucolic and tragic.
    • 80 Metascore
    • 80 Critic Score
    There doesn’t appear to be much room for hope, but they execute their sadness so beautifully that it’s easy to accept their blue moods.
    • 80 Metascore
    • 80 Critic Score
    Goodbye Bread shows Segall's calmer side, but the frantic instrumentals, heavy guitar riffs and rough-around-the-edges sound remain, betraying his decidedly harder roots and showing that Segall hasn't gone totally soft.
    • 80 Metascore
    • 80 Critic Score
    The album fights back against the tide of boring, quiet music, and nearly every song feels like a throat-rupturing protest against standing still.
    • 80 Metascore
    • 80 Critic Score
    On Low's ninth full-length album, the slowcore trio from Duluth creates its most inviting work to date.
    • 80 Metascore
    • 80 Critic Score
    Foxygen is never overpowered by its influences.
    • 80 Metascore
    • 80 Critic Score
    On their full-length debut, Milk Music keeps those influences intact with raw, warm sludgy rock that brings them out of the fuzzy shell of 2010′s Beyond Living EP helping to secure a unique personal identity that respectfully builds on a classic sound.
    • 80 Metascore
    • 80 Critic Score
    Despite the lack of direct emotional content in the shrouded lyrics, the music has an ache to it, a yearning that suggests a desire to connect but an inability to make a connection.
    • 80 Metascore
    • 60 Critic Score
    The music is smart, diverse and tuned to perfectionist standards, but frequently the lyrics leave the listener wondering, “Where is White’s gut on this?”
    • 80 Metascore
    • 80 Critic Score
    The Dap-Kings prove once again to be an almost mind-bogglingly crisp backing band, with tickingly taught percussion, sticky bass lines and sweat-inducing brass. But it’s Jones, of course, who holds together every song with her now-classic vox.
    • 80 Metascore
    • 80 Critic Score
    Luckily, Picture You Staring does deliver on the promise of its lead single.
    • 80 Metascore
    • 80 Critic Score
    he album is as much seductive as it is creepy, with hollow and haunting sonic gestures that together compose an alternate universe ambience.
    • 80 Metascore
    • 80 Critic Score
    Though King Of Limbs may be the band's simplest and most inaccessible album to date, the tone and mood created by the chaotic start and smooth finish makes it an exciting work.
    • 80 Metascore
    • 80 Critic Score
    Black Lips puts on a hell of a show on Arabia Mountain, and it doesn't even need riots and stage diving to keep you interested.
    • 80 Metascore
    • 60 Critic Score
    The album, however, cannot shake off the feeling that it's a melting pot of Segall's previous albums from this year.
    • 80 Metascore
    • 80 Critic Score
    Listening to Quadruple Single is not a passive experience in the least.
    • 80 Metascore
    • 80 Critic Score
    Hell Bent is one of those debuts whose effortlessly-evoked sound kind of shocks you.
    • 80 Metascore
    • 70 Critic Score
    Grimes has come into a cleaner, more distinct version of her IDM self, albeit one still influenced by Aphex Twin, TLC and Enya.
    • 80 Metascore
    • 80 Critic Score
    The Dirty Projectors are still fantastic weirdos making fantastically weird music, but Swing Lo Magellan humanizes them by letting you see through to their heartstrings.