Consequence's Scores

Select another publication »
For 4,039 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: 2,753 out of 4039
  2. Mixed: 1,215 out of 4039
  3. Negative: 71 out of 4039
4039 music reviews
view
per page
    • 63 Metascore
    • 42 Critic Score
    Hubba Bubba
    The inconsistency brings down the album as a whole and makes it a difficult front-to-back listen.
    • 74 Metascore
    • 42 Critic Score
    Marks to Prove It
    Sadly, Marks To Prove It puts all its work into weighty matters instead of incorporating the quintet’s funny bone.
    • 61 Metascore
    • 42 Critic Score
    Four Foot Shack
    Its shortcomings are fundamental--too long, too repetitive, too reliant on novelty--though hardcore fans will dig the spontaneity and candor.
    • 66 Metascore
    • 42 Critic Score
    Words to the Blind
    Words rarely coheres into a legible sequence of rhythms or melodies, rarely evolves into more than textural noodling and atmospheric energy.
    • 72 Metascore
    • 42 Critic Score
    United Crushers
    For once, the darkness of Poliça’s shadows are too muddled to make the climb through them worthwhile.
    • 54 Metascore
    • 42 Critic Score
    Prophets of Rage
    The album’s lack of originality extends to its music as well as its sloganeering.
    • 68 Metascore
    • 42 Critic Score
    Apocalypse Soon [EP]
    Nearly half the record--the cuts featuring Williams and Paul--comes off more as a marketing ploy than thoughtful collaboration.
    • 66 Metascore
    • 42 Critic Score
    V
    As a whole, the albums works on a cohesion, transitioning from stronger, more powerful tracks (“Dynasti”, “Dean & Me”, and “All White Everything”) to the remaining eight cuts, which are breezy, quiet, and, sadly, quite boring, thanks to cheesier lyrics and lack of production effort.
    • 59 Metascore
    • 42 Critic Score
    The Dark Side of the Moon Redux
    There’s a world where rerecording Dark Side of the Moon works, but this redux is too misguided, too indulgent, and too up Waters’ behind to take all that seriously.
    • 67 Metascore
    • 42 Critic Score
    House of Spirits
    House of Spirits is the saturnine successor nobody asked for, a detour though a bramble patch running parallel to a stretch of open road.
    • 68 Metascore
    • 42 Critic Score
    Ash & Ice
    Ash & Ice lacks cohesive identity. Any record with Mosshart’s vocals and Hince’s guitar will be identifiable as a product of The Kills, but the record both feels inconsistent and as if the songs all blend together.
    • 71 Metascore
    • 42 Critic Score
    Will of the People
    It’s good that the band feels a responsibility to communicate strong messages of hope and unity to their base of fans and beyond, but it’s naive for them to think that Will of the People’s pseudo-provocative stance is good enough.
    • 57 Metascore
    • 42 Critic Score
    Blaster
    By the standards of the Weiland of old, Blaster falls softly short; its best flavors come from the handful of new touches. A number of songs here sound like undeveloped ideas from previous bands.
    • 67 Metascore
    • 42 Critic Score
    Mind Over Matter
    Young the Giant are a technically proficient group who no doubt shred through these tracks during live performances, but the over-production is an impediment to enjoying the individual performances.
    • 65 Metascore
    • 42 Critic Score
    Lost Loves
    Lost Loves isn’t without its charms, but it’s a frustrating listen that represents another self-imposed hurdle in the band’s development.
    • 77 Metascore
    • 40 Critic Score
    Loud Planes Fly Low
    The Rosebuds instead have limited themselves and recorded an album that's generally good while being limited in its emotional scope and thus utterly disappointing in the long run.
    • 72 Metascore
    • 40 Critic Score
    Born to Sing: No Plan B
    While there are a few gems on Born to Sing, he's riding his name through the album instead of having something to say.
    • 70 Metascore
    • 40 Critic Score
    TM:103 Hustlerz Ambition
    There's some genuine emotional sentiment displayed, but the swagger's too powerful and everything falls prey to blasé boasts.
    • 57 Metascore
    • 40 Critic Score
    Spreading Rumours
    Unfortunately, far too many tracks on the their sophomore LP, Spreading Rumours, hear the LA space cadets sounding, well, grounded.
    • 51 Metascore
    • 40 Critic Score
    Here and Now
    Here And Now might prove to be a step above the last effort, but likewise a step high enough to hang its creators on a barn rafter.
    • 64 Metascore
    • 40 Critic Score
    Tiny Rebels [EP]
    It’s more of a song-based effort than some of the Gang’s previous work, but it doesn’t have the structural bones or the lyrical meat to stand up on its own.
    • 71 Metascore
    • 40 Critic Score
    Mirror Mirror
    Reminders of the past are pleasant, but at the end of the day, you'll be choosing Power, Corruption & Lies or Songs of Faith and Distortion over Sons & Daughters' Mirror, Mirror.
    • 59 Metascore
    • 40 Critic Score
    Stade 2
    The album's a little too incoherent for even the most devout of electroheads.
    • 66 Metascore
    • 40 Critic Score
    Long Live the King [EP]
    The band sounds like they're having a great time, but the end result is markedly boring.
    • 66 Metascore
    • 40 Critic Score
    Just Tell Me That You Want Me: A Tribute To Fleetwood Mac
    Just Tell Me That You Want Me falters due to mediocre renditions and some serious song selection issues.
    • 65 Metascore
    • 40 Critic Score
    Freedom Run
    In the case of The Rifles' latest album, Freedom Run, problems stem from a lack of variety throughout its 13 tracks.
    • 69 Metascore
    • 40 Critic Score
    Selfhood
    Overall, Selfhood is caught between two worlds in the worst kind of way.
    • 59 Metascore
    • 40 Critic Score
    La Liberacion
    There are some lovely, warm, breezy beats, as on "Hits Me Like a Rock", but the vocals seem so drenched in effects that it takes away from any kind of earthiness, and Bobby Gillespie's appearance seems fatuous, a nod to the kind of sound they are hoping to achieve.
    • 64 Metascore
    • 40 Critic Score
    Caveman
    Because Caveman simmers at the same murky tempo for 45 minutes, even the melodies start to lose their sweetness.
    • 68 Metascore
    • 40 Critic Score
    Songs for the Ravens
    In the sense of everything common and respectively boring, the majority of Songs for the Ravens doesn't pull off anything new and exciting.
Page: