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
    • 64 Metascore
    • 40 Critic Score
    Battle Born
    Aside from "Battle Born", none of the other high points succeed against the influences The Killers have long been aping, much less against those times when the band has hit that sentimental ache that exists in all of us.
    • 66 Metascore
    • 40 Critic Score
    KR-51
    While the first seconds of each track on KR-51 are promising and stimulating, the lack of follow-through and direction ultimately kill the songs before they end.
    • 50 Metascore
    • 40 Critic Score
    WZRD
    The album lacks the urgency of successful rap and rock, instead wallowing in a blah middle ground in its best moments.
    • 67 Metascore
    • 40 Critic Score
    Hot Cakes
    And even these songs ["Nothing's Gonna Stop Us", "Everybody Have a Good Time"] fail to capture the raw energy of Permission To Land or the orchestral pomposity of One Way Ticket, instead falling limp between the two.
    • 65 Metascore
    • 40 Critic Score
    Meyrin Fields
    I'd like to hear Broken Bells at its strongest, not nestled into mediocrity.
    • 59 Metascore
    • 40 Critic Score
    Hoyas [EP]
    Hoyas doesn't lack depth, but it's over-simplified. It's a hesitant musical effort, and quite forgettable when compared to Carey's debut, All We Grow.
    • 42 Metascore
    • 40 Critic Score
    Somethin' 'Bout Kreay
    The problem with Somethin' Bout Kreay is that the record is inevitably one of novelty, and it wears thin fast.
    • 64 Metascore
    • 40 Critic Score
    Forever So
    Husky's Forever So represents the latest in a sea of bands that, despite being able to perform and harmonize, should just go the route of talented session players and backing bands; artists with plenty to play, but not much to say.
    • 59 Metascore
    • 40 Critic Score
    Slave to the Game
    Slave To The Game shows a band curious about more experimental sounds, however grating (note the steely, annoying electronics in "Umar Dumps Dormammu"), but perhaps too blockheaded to move further, remaining slaves to the tried-and-true Emmure din.
    • 54 Metascore
    • 40 Critic Score
    Blood
    It's bubbling with the trite sounds of heavy metal c. 2002.
    • 61 Metascore
    • 40 Critic Score
    Unapologetic
    The art speaks to the album's sound: readily appealing, but ultimately, two-dimensional.
    • 63 Metascore
    • 40 Critic Score
    (I Can't Get No) Stevie Jackson
    At the end of the day, I Can't Get No (Stevie Jackson) proves that Jackson is a perfectly capable guitarist for the band he plays in, who has the ability to whip a song now and again for a long player. Writing a whole album's worth of material? Not so much.
    • 67 Metascore
    • 40 Critic Score
    Last Night on Earth
    What this album is lacking is excitement and conflict, originality and surprise.
    • 67 Metascore
    • 40 Critic Score
    Early Times
    Early Times, a collection of figuratively pre-pubescent tape-fuzz that attempts to matter to us in some way, fails at being anything other than a mish-mash of crudely recorded, harsh sounding Silver Jews castaways.
    • 64 Metascore
    • 40 Critic Score
    Anxiety
    The majority of the tracks on her second full-length, Anxiety, teem with chilled vocals, crunchy guitar, and keyboard blurps that move hips to sway before showing their hollowness as soon as one steps off the dance floor.
    • 72 Metascore
    • 40 Critic Score
    We Are the Champions
    To play with the big boys, or to call themselves champions, these brothers will need to figure out what they want to talk about. Until then, they have nobody convinced.
    • 63 Metascore
    • 40 Critic Score
    The Twilight Saga: Breaking Dawn, Pt. 1 [Original Soundtrack]
    It ultimately underwhelms, indulging too much in the melodramatic.
    • 42 Metascore
    • 40 Critic Score
    What The...
    With its squeaky clean sonic finish and diluted edge, it’s a record that screams musical midlife crisis. If you were worried that a new Black Flag record would sully the band’s sterling legend, your concerns are sadly validated.
    • 61 Metascore
    • 40 Critic Score
    The Orbserver in the Star House
    Paterson's deep respect for Perry's improvised vocals ultimately handicapping the eccentricities of each man's production prowess.
    • 51 Metascore
    • 40 Critic Score
    Days Go By
    The Offspring's newest release, Days Go By, is both disjointed and mildly out of its element, containing one-third of this act's best output since pre-Splinter by a minuscule margin at best. It's just good old fashioned "meh."
    • 59 Metascore
    • 40 Critic Score
    The Duke
    The Duke is too scattershot, and Jackson doesn't quite know what genre to focus on.
    • 70 Metascore
    • 40 Critic Score
    The Ghost in Daylight
    The Ghost in Daylight is ignorable background music and the lowest point of the Gravenhurst discography thus far.
    • 68 Metascore
    • 40 Critic Score
    Dos!
    With a lack of depth, a messy focus, and a bloated sense of evolution, ¡Dos! isn't only a forgettable sequel to a bland predecessor, but a slip down the ladder Green Day has attempted to extend for over a decade.
    • 66 Metascore
    • 40 Critic Score
    Pale Fire
    Dark and light are persistent themes on Pale Fire; yet the color that bleeds through the most is an uninteresting shade of grey.
    • 77 Metascore
    • 40 Critic Score
    Days
    Call it getting lost in a sea of other great bands, but Real Estate has yet to truly claim their own piece of the surf-pop movement.
    • 61 Metascore
    • 40 Critic Score
    In the Key of Disney
    Mostly, the album suffers from just too much of the patronizing, saccharine Disney vibe and not enough echt Wilson.
    • 63 Metascore
    • 40 Critic Score
    Thumbtacks and Glue
    [Hamilton’s voice] carries the wispy, breathy feel of an Iron & Wine, but where Sam Beam’s rustic vocals float like a leaf down a sunny river, Hamilton’s putters out like a deflated balloon, and he comes off as hesitant and unassuming.
    • 72 Metascore
    • 40 Critic Score
    Snow Globe
    Ultimately, Snow Globe doesn’t know what it wants to be, an album of covers or a showcase for the band’s return, and it sucks some of the joy out of the holiday favorites while it painstakingly tries to figure it out.
    • 65 Metascore
    • 40 Critic Score
    Soul Punk
    Differentiating yourself isn't the same as creating quality music, and Patrick Stump has only managed to do the first and not the second.
    • 44 Metascore
    • 40 Critic Score
    Hell in a Handbasket
    His latest work, Hell in a Handbasket, however, takes the success of Teddy Bear and pushes it a few awful steps backward.
Page: