Consequence's Scores

Select another publication »
For 4,038 reviews, this publication has graded:
  • 44% higher than the average critic
  • 4% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 4 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Channel Orange
Lowest review score: 0 Revival
Score distribution:
  1. Positive: 2,752 out of 4038
  2. Mixed: 1,215 out of 4038
  3. Negative: 71 out of 4038
4038 music reviews
view
per page
    • 69 Metascore
    • 58 Critic Score
    Annabel Dream Reader
    It’s not that The Wytches aren’t capable of ballads or contemplative space, it’s just that they haven’t found a way to do so in a way half as uniquely or powerfully as they have the big, explosive stuff.
    • 53 Metascore
    • 58 Critic Score
    Anthem of the Peaceful Army
    On their debut, Greta Van Fleet proves their ability to resurrect the sounds of the past, but not necessarily that they’re ready to make those sounds into something they truly own.
    • 58 Metascore
    • 58 Critic Score
    Free Spirit
    On Free Spirit, Khalid sounds caught between wanting to play a superstar and wanting to be himself, with the result that he sounds like neither.
    • 72 Metascore
    • 58 Critic Score
    Tomorrow's Modern Boxes
    Yorke chose a modest delivery method for a modest album, hinting that the real goods have yet to come.
    • 74 Metascore
    • 58 Critic Score
    Eagulls
    The band surely know their strengths and have developed their sound, but the individual songs suffer when stacked on top of each other.
    • 81 Metascore
    • 58 Critic Score
    The Beyond/Where the Giants Roam [EP]
    Thundercat releases typically detail grand worlds, but The Beyond/Where the Giants Roam relies too heavily on unspecific, cliched lyrical pain.
    • 69 Metascore
    • 58 Critic Score
    A Letter Home
    A Letter Home won’t in future decades be listed alongside the best or the worst of those offerings, but it might find mention as one of his oddest fleeting experiments, alongside Everybody’s Rockin’, Trans, Greendale, Living with War, or lord knows what else is still to come.
    • 72 Metascore
    • 58 Critic Score
    Ghettoville
    Considering potential downsides, the record stands decently by itself, but in no way akin to the power of the intermediate standalone albums; thus, Hazyville becomes necessary for a fuller appreciation of this release.
    • 63 Metascore
    • 58 Critic Score
    Ludaversal
    Ludaversal offers little originality.
    • 75 Metascore
    • 58 Critic Score
    I Like It When You Sleep, For You Are So Beautiful Yet So Unaware of It
    There’s plenty of filler here, but at least it all works toward trying to inject some humanity back into the world of buzz-worthy pop music.
    • 73 Metascore
    • 58 Critic Score
    Neuroplasticity
    Neuroplasticity, at times, makes Spx sound out of place on her own record.
    • 80 Metascore
    • 58 Critic Score
    Emmaar
    For better and worse, surprises on Emmaar are scarce if there are any.
    • 78 Metascore
    • 58 Critic Score
    This Is the Sonics
    They keep up with the kids so convincingly, though, that The Sonics fall into the exact same traps. While the lyrics largely aim for cheeky goofballery, they occasionally flounder in eyeroll territory.
    • 79 Metascore
    • 58 Critic Score
    Commontime
    The intangibles are all here in spades, and it’s obvious these guys have an exciting vision. Commontime is just arranged in such a way that the album’s contents are thrown into disarray.
    • 75 Metascore
    • 58 Critic Score
    The Life Of Pablo
    West finds control on an album whose first half is uncharacteristically wild. The focus present on these tracks [Waves, FML, Real Friends, Wolves] are what is expected of West.... But the strength in these moments also highlight how rudderless the rest of Pablo often feels.
    • 76 Metascore
    • 58 Critic Score
    Ultimate Care II
    Ultimate Care II, then, is less an album and more a curio, perhaps better suited as part of an installation art piece at Matmos’ inevitable MoMA retrospective in 20 years than as a proper album.
    • 62 Metascore
    • 58 Critic Score
    In the Lonely Hour
    In the Lonely Hour is inexpressive and hard to sit through despite being built for easy listening.
    • 70 Metascore
    • 58 Critic Score
    Wild Nights
    At times, Wild Nights can err towards being too cerebral and not visceral enough, especially in the case of ponderous songs like “Got It Bad”.
    • 61 Metascore
    • 58 Critic Score
    Remember My Name
    Remember My Name sounds a lot like a lot of other things.
    • 72 Metascore
    • 58 Critic Score
    Heydays
    At just 30 minutes, Heydays plays it cool, breezy, and quick without much weight to throw around.
    • 75 Metascore
    • 58 Critic Score
    Overjoyed
    Despite its goofy grin, squeaky clean production, and cheesy lyrics, Overjoyed is a good thing.
    • 82 Metascore
    • 58 Critic Score
    Blue and Lonesome
    In the end, the record feels like a copy of a copy, though produced on what may just be the world’s best copier. If nothing else, though, the record works as a pleasing re-centering for one of the greatest rock bands of all time.
    • 71 Metascore
    • 58 Critic Score
    Avonmore
    Some musical movements and bands age well, and others don’t. For the most part, the sounds that Ferry references here fall into the latter category, though the album does have its bright moments.
    • 66 Metascore
    • 58 Critic Score
    Instant Money Magic
    These dudes release albums to air out their childlike, messy, giddy punk spirit, and they’ll continue to do so, even if they drop a few meandering tracks into the mix.
    • 75 Metascore
    • 58 Critic Score
    The Desired Effect
    An album that works best when politics and organized religion get the brush off.
    • 68 Metascore
    • 58 Critic Score
    Spend the Night With…
    Cheena offers something different enough to merit a listen, although it’s hard to imagine Spend the Night With... leaving the kind of footprint on the impressionable young artists of tomorrow that the bands and luminaries Cheena so dutifully reference have left on them.
    • 82 Metascore
    • 58 Critic Score
    Never Hungover Again
    The album’s heavier points tend to slant alternately intriguing and confusing.
    • 68 Metascore
    • 58 Critic Score
    Higher Truth
    Higher Truth ironically doesn’t strive for anything higher. It stakes its claim in the rich soils of the middle ground, a place that values intimacy above innovation, quiet truths above the ones that scream. And it’s all the better for it.
    • 56 Metascore
    • 58 Critic Score
    Tranquilizers
    Tranquilizers is a fitting companion piece to Velvet Change, providing two ends of the spectrum that Jones has found himself in. His evident comfort with this material is encouraging, but it’s clear that there’s still room to progress for Dog Bite.
    • 68 Metascore
    • 58 Critic Score
    Delusions of Grand Fur
    When it works, Delusions of Grand Fur makes a case as Rogue Wave’s strongest album, an expansion of sound anchored by the omnipresent sweetness of Rogue’s voice. But where it falls short, the ghosts of Permalight and Nightingale Floors loom ever larger, a haunting reminder of the growing distance between the band’s sterling Sub Pop debut and current quagmire.
    • 77 Metascore
    • 58 Critic Score
    Nabuma Rubberband
    Nabuma Rubberband is Little Dragon’s selfish record, and splendidly so. Some of the sweet moments in its strongest tracks, however, are lost in others, as is the nature of an album with standout tracks.
    • 71 Metascore
    • 58 Critic Score
    Teen Men
    As a debut, it’s fitting that Teen Men makes it sound like the quartet is still figuring out the dimensions of the “bedroom” aspect of their bedroom pop, picking out the figurines for the bookshelf and just how fluffy the pillows on the bed should be. It’s also clear, however, that they’ve got good taste and a promising decorating plan.
    • 76 Metascore
    • 58 Critic Score
    The Black Market
    All told, it’s a mixed bag, but it’s a healthy, if occasionally wobbly, step into new territory.
    • 75 Metascore
    • 58 Critic Score
    Rattle That Lock
    Heartfelt, if not always inspired musings are scattered throughout the record.
    • 64 Metascore
    • 50 Critic Score
    Muzik
    This is a welcome step forward for a promising band, and a beautiful statement. However, in practice it becomes a bit laborious. Each song hangs in the same atmosphere, offering little variety but plenty of good vibes.
    • 66 Metascore
    • 50 Critic Score
    Extra Playful [EP]
    For the most part, Extra Playful makes a nice addition to any modern rock playlist, though there's nothing on here that will drop your jaw.
    • 77 Metascore
    • 50 Critic Score
    Hesitation Marks
    By playing both to nostalgic sensibilities and trying to literally occupy the same territory he once did, Hesitation Marks is only welcome in that it puts Nine Inch Nails on tour. But, for the album itself, the good ideas seem to have been wasted on trying to revive something that killed itself years ago.
    • 68 Metascore
    • 50 Critic Score
    Mac and Devin Go to High School [Original Motion Picture Soundtrack]
    This album is, in a single word, comfortable.
    • 69 Metascore
    • 50 Critic Score
    Need Your Light
    The results are mixed, surely, but not anything other than what they are.
    • 76 Metascore
    • 50 Critic Score
    The Evil Empire of Everything
    The best of The Evil Empire of Everything simmers like the frank dinner table conversation afterwards-a dialogue that white America rarely gets to hear and one that gets cut tragically short on this record.
    • 56 Metascore
    • 50 Critic Score
    O.N.I.F.C.
    Wiz doesn't often come across as having much of direction, but things like that are what make him strike as more lost than ever here.
    • 63 Metascore
    • 50 Critic Score
    Rubberband
    The finish is messy, the mixing hops from decade to decade, and the album flow is nonexistent. There are a couple of great moments, especially “Rubberband”. But without those finer touches, it often doesn’t even sound like Miles Davis, just some dude blowing a horn.
    • 65 Metascore
    • 50 Critic Score
    Weatherhouse
    The album is an interesting but probably forgettable footnote in the history of one of the most influential bands of the 21st century.
    • 64 Metascore
    • 50 Critic Score
    Talk That Talk
    This album is lacking fiercely in the big-time, gargantuan smashes Rihanna has made her career on. Even still, there are a few sonic creations on Talk That Talk that give the listener something to celebrate.
    • 72 Metascore
    • 50 Critic Score
    Fain
    The album loses its confidence through multiple exhibitions of mundane excess, fracturing the dexterity to hold up over time, and proving that not everyone can focus in deep isolation.
    • 56 Metascore
    • 50 Critic Score
    Haerts
    Haerts is a frequently catchy mastery of tried-and-true sounds, but ultimately there’s not much that deviates from the sugary, straightforward formula that caused the group to explode in the first place.
    • 67 Metascore
    • 50 Critic Score
    Gameshow
    As a band that formed in 2007 and became emblematic of indie pop in the early part of this decade, Two Door Cinema Club were already sliding towards irrelevance. Unfortunately, Gameshow doesn’t really help to arrest that trajectory.
    • 67 Metascore
    • 50 Critic Score
    Miracle Mile
    The vocals remain distorted and drowned out, which can be an interesting effect. Except this record could have used them as an anchor.
    • 76 Metascore
    • 50 Critic Score
    Dangerous Woman
    The pop star is putting out fine records, but it’s hard to escape the feeling that her ludicrous potential remains unfulfilled.
    • 70 Metascore
    • 50 Critic Score
    The Birds of Satan
    The lyrics on The Birds of Satan are fairly generic and read like first drafts--simple phrases about bad love, and good love, and the throes in between--but the words are never distractingly bad.
    • 77 Metascore
    • 50 Critic Score
    Little Dark Age
    There are some sweet moments on Little Dark Age and some stale ones. More often than not, Andrew VanWyngarden and Ben Goldwasser lapse back into a sardonic mode that sounded a whole lot better in 2007 than it does in 2018.
    • 68 Metascore
    • 50 Critic Score
    Strange Land
    Yellow Ostrich teeters on the thin line between self-indulgent and meditative on Strange Land.
    • 63 Metascore
    • 50 Critic Score
    Beneath the Skin
    Your enjoyment of Of Monsters and Men’s new album may largely hinge on whether you hear their animalistic motifs as gimmicky or as a legitimate narrative vehicle. Regardless, the band has turned in a safe record that doesn’t stray too far from their last offering.
    • 73 Metascore
    • 50 Critic Score
    High Road
    Kesha is in transition, searching for that balance that can give her music meaningful identity in the future. High Road’s few shining moments — the vulnerability of her ballads and the wild sparks sprinkled throughout — suggest that balance is imminent. High Road is ironically (and unfortunately) a low point in Kesha’s career.
    • 66 Metascore
    • 50 Critic Score
    System Preferences
    On System Preferences, Earlimart continues to forgo the big hooks for a subtle, slow-burning impact, but it's at a pace that does not quite catch up to the increasing speed of familiarity.
    • 58 Metascore
    • 50 Critic Score
    The Endless River
    As part of the greater whole of Floyd records, it’s an oddity, more relevant for its context in the band’s history than the music.
    • 66 Metascore
    • 50 Critic Score
    Idle Labor
    The over-the-top mopey lyrics combine with the spot-on New Order impressions to come away as another solid, uninspired New Wave revival disc.
    • 70 Metascore
    • 50 Critic Score
    The Divine Feminine
    The album could offer some really tender moments, but because they’re buried under lyrics that talk about nothing but sex, they’re lost. Instead, The Divine Feminine leaves a sour taste behind and entirely misses an opportunity to truly honor the female gender.
    • 70 Metascore
    • 50 Critic Score
    Caramel
    Somewhere in the midst of it all, there’s purportedly a story about a man in love with a dolphin and a car race that concludes with a crash. But, there are already too many baffling things going on to try and decode that bonkers narrative on top of it all.
    • 65 Metascore
    • 50 Critic Score
    Sorry 4 the Wait
    He literally gives over five minutes of shout-outs, thanking people for their patience, but by the time we get here, our patience is run ragged.
    • 69 Metascore
    • 50 Critic Score
    Range of Light
    Range of Light is its own entity, and a promising if a bit one-note follow-up album by the talented S. Carey.
    • 76 Metascore
    • 50 Critic Score
    Seasons of Your Day
    It’s about as confounding as it is disappointing.
    • 60 Metascore
    • 50 Critic Score
    The 20/20 Experience 2 of 2
    The indulgence that fit the designer Suits & Ties of Pt. 1 colors this record’s jungle sex openings and hidden “Hey There Delilah” endings, and it hamstrings an otherwise great singer into making a mediocre record.
    • 75 Metascore
    • 50 Critic Score
    Feel It Break
    The creative basis for the album's sound and feel are quite original (look no further than the two official NSFW videos released for the album here and here), but after about a half-dozen tracks, it seems like the Austra motor sort of sputtered and died in terms of creativity.
    • 75 Metascore
    • 50 Critic Score
    Pe'ahi
    Despite its ambitions, Pe’ahi ripples through without much fanfare, another breeze fallen short of a storm.
    • 59 Metascore
    • 50 Critic Score
    Form & Control
    The Phenomenal Handclap Band return with its sophomore release, Form & Control, which feels more centered, yet as retro as ever.
    • 68 Metascore
    • 50 Critic Score
    Everybody's a Good Dog
    Diane Coffee is a rock-solid reenactment, and if you haven’t already worn the grooves down on Electric Warrior, you might even be able to have some fun with it. But a costume is a costume, and this one hardly passes for a disguise.
    • 70 Metascore
    • 50 Critic Score
    Chorus
    A little bit of the candy-coated trip of Chorus works--but too much and the magic starts to fade, the moments losing their sheen, their details fading into an unmemorable pastiche.
    • 74 Metascore
    • 50 Critic Score
    Bang, Zoom, Crazy... Hello
    The songwriting is boring and inoffensive, but the lyrics really sterilize the record.
    • 71 Metascore
    • 50 Critic Score
    The Big Day
    There’s an abyss between the kid on Acid Rap and the man on The Big Day. And while you can’t blame a man for growing up and aging out of those topics, you can blame him for not being able to communicate in a way that still resonates with his fans.
    • 69 Metascore
    • 50 Critic Score
    Bush
    As tame as Bush’s formula is, there are times when it works.
    • 64 Metascore
    • 50 Critic Score
    Everything's Fine
    With Everything's Fine, The Summer Set offer enough of a glimpse to prove that they have just enough staying power to stick around.
    • 71 Metascore
    • 50 Critic Score
    Ultra
    On Ultra, it simply feels as though something is missing, and overall, makes more sense as an appetizer than the entrée.
    • 69 Metascore
    • 50 Critic Score
    Lost in Alphaville
    The issue with Lost in Alphaville, besides simply retooling earlier Rentals songs, is its feeling of playing it safe.
    • 55 Metascore
    • 50 Critic Score
    Staind
    Our current decade shows relative promise for the red-capped skeletons in our dusty CD cabinet, with Staind left proving pleasant results can occasionally lie past an act's alleged retirement age.
    • 70 Metascore
    • 50 Critic Score
    Diluvia
    Diluvia demonstrates growth for the band by finding a happy medium between a familiar sound and some well-placed surprises.
    • 61 Metascore
    • 50 Critic Score
    Death Race for Love
    These new sad songs don’t quite hit the soul like previous ones did.
    • 75 Metascore
    • 50 Critic Score
    Big Dark Love
    Big Dark Love is brilliant where many MBD albums also thrive: in setting a stage.... The problem is that watching the band set up the stage is still more interesting than the production that follows.
    • 68 Metascore
    • 50 Critic Score
    Sky Full of Holes
    They know what they do well and they accentuate that time and time again. While the stories can get drawn out at times, there is still enough here to sustain a solid listen.
    • 66 Metascore
    • 50 Critic Score
    Nothing Bad Will Ever Happen
    Nothing Bad Will Ever Happen, as a whole, doesn't contribute anything terribly original to the genre, and as such doesn't make much of a lasting impression on the listener.
    • 69 Metascore
    • 50 Critic Score
    12 Desperate Straight Lines
    The more innovative tracks are definitely worth a download. However, a good portion of the album is basically filler.
    • 77 Metascore
    • 50 Critic Score
    International
    International is Lust for Youth’s cleanest work to date, and in some ways that also makes it their creepiest.
    • 78 Metascore
    • 50 Critic Score
    Go-Go Boots
    Despite the band's place in the alternative country/Southern rock movement, this album is still full of some yarns that should have never been woven.
    • 66 Metascore
    • 50 Critic Score
    Joy
    If one Ty Segall record a year isn’t enough for you, you’ll likely find enough muggy demo-grade fun amid Joy’s best moments. If you’re a dabbler who’s already given part of your 2018 to Freedom’s Goblin, though, you’re probably safe sitting this one out.
    • 49 Metascore
    • 50 Critic Score
    Time of My Life
    If you already like 3 Doors Down (and plenty do), then Time of My Life will be another album worth listening to; if you're one of the people who liked "Kryptonite", it's probably not worth bothering.
    • 64 Metascore
    • 50 Critic Score
    Hot Hot Heat
    The resulting record is catchy, but ultimately falls as flat as all their other attempts to recreate the magic of that first release, unable to capture the imagination, energy, and urgency of Make Up the Breakdown.
    • 72 Metascore
    • 50 Critic Score
    Aabenbaringen Over Aaskammen
    With much of the album sounding like the rest of their catalog, there isn't enough innovation within the entire affair.
    • 67 Metascore
    • 50 Critic Score
    Antemasque
    For all of its bombast, the album’s last third fails to maintain much interest, especially the meandering “People Forget”, which sticks out in a group of otherwise tightly structured songs.
    • 69 Metascore
    • 50 Critic Score
    Michael
    His abilities as a storyteller remain relatively unchallenged, an attribute that is almost wholly absent from the album’s 11 tracks.
    • 71 Metascore
    • 50 Critic Score
    The Pale Emperor
    A lack of “oomph” prevents the album from landing a gut punch that would cover all of its flaws.
    • 65 Metascore
    • 50 Critic Score
    The Fool
    As Weaver confesses to common pitfalls of falling in and out of love, The Fool spins on like a series of diary entries with no end in sight, quite possibly because Weaver has yet to decide how this story ends.
    • 59 Metascore
    • 50 Critic Score
    Equals
    It’s settled, comfortable, and a bit too repetitive. It’s inoffensive, which is perhaps worst of all. Equals commits the greatest sin of pop music: it just isn’t very interesting.
    • 48 Metascore
    • 50 Critic Score
    Love Is the Law
    For all its pleasures, though, Love is the Law feels a bit overstuffed at 17 tracks.
    • 60 Metascore
    • 50 Critic Score
    Ices
    Ices is a sincere record that was supposed to be a mission statement for its artist, as per its title. But instead, it’s an exercise in pointless cultural appropriation that just makes it unclear whether there is anything to Lia Ices at all.
    • 69 Metascore
    • 50 Critic Score
    Mouseman Cloud
    On Mouseman Cloud, his fifth solo album in the past two years, Pollard's craft runs a bit stale, impressing more with quantity of ideas than actual substance.
    • 65 Metascore
    • 50 Critic Score
    Boys
    Their shot at “salsa-punk” on new album Boys, though, misses the mark when it comes to differentiating them from the garage boilerplate.
    • 67 Metascore
    • 50 Critic Score
    Season High
    There are flashes of a more invigorating band underneath, but Season High ultimately ends up the kind of record for festival attendees to pleasantly dance along to while sipping their drinks waiting for the headliner.
    • 73 Metascore
    • 50 Critic Score
    Tired of Tomorrow
    As a shoegaze record, Tired of Tomorrow‘s production is too metallic, its chord progressions sometimes bordering on pop ­punk. But as a post-­hardcore record, its guitar parts are overly­ simplistic and its vocals are sleep-inducing. It’s got one foot in each camp, but doesn’t benefit from either as much as it should.
    • 77 Metascore
    • 50 Critic Score
    Pylon
    The finished product is still strong and consistent, to be sure, but with the lack of variety, Pylon is likely to be remembered as an album that just kept a constant rhythm for 56 minutes.
    • 71 Metascore
    • 50 Critic Score
    Wild Water Kingdom [Mixtape]
    The tape lags in places, Heems covering topics he's done before, but without he memorable hooks and enthusiasm.
Page: