Consequence's Scores

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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
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    • 65 Metascore
    • 67 Critic Score
    S+@dium Rock: Five Nights at the Opera [Live]
    The five-night cherry-pickings are a fun listen, but Titus Andronicus need to make a descision: include properly ordered acts to squeeze the most out of The Most Lamentable Tragedy or include older hits to squeeze the most from a typical Titus Andronicus set. If the Jersey crew can make the slower numbers sound more amusing live, then maybe they can get back on track to find that original rebellion inside of them and, in turn, inside all of us.
    • 78 Metascore
    • 67 Critic Score
    Late Nights: Europe [Mixtape]
    Coming so quickly after The Album, it shouldn’t come as a surprise that Europe doesn’t exactly mark a major reinvention for Jeremih. Some changes to his aesthetic might be in order; it can seem like he sings about sex and nothing else.
    • 78 Metascore
    • 75 Critic Score
    Oddments of the Gamble
    The only weakness of oddments is the occasional breaks in the overall flow, moments where tracks fade away too soon or stretch on too long, or where a massive peak is dropped off immediately into a spacy low. But these breaks are infrequent, only jarring because of the comforting haze the record consistently meets.
    • 72 Metascore
    • 58 Critic Score
    Afraid of Heights
    Despite functionally inelegant song choices (“Big Red Gun”) and filler (“February Winds”), a good deal of Afraid of Heights trades in rapid-fire aggression for a calculated barrage of justified fear (the title track, “Ghost Ship of Cannibal Rats”).
    • 70 Metascore
    • 67 Critic Score
    Gone Is Gone [EP]
    Gone Is Gone plays smooth, finishes rough, and gets a little eccentric where it ought not to. Thankfully, the EP is far more good than bad.
    • 79 Metascore
    • 75 Critic Score
    The King of Whys
    The lush sonics of The King of Whys are a far cry from the lo-fi stylings of his 2001 full-length debut, but they seem a natural fit; Kinsella’s warm fingerpicking has always had a way of filling space and creating even more of it, and the added instrumentation fills those gaps with an atmosphere appropriate for each composition.
    • 72 Metascore
    • 67 Critic Score
    Everybody Looking
    As it is, Everybody Looking feels like a slight step up from Gucci’s prison mixtapes, but not the major step that a Free Gucci statement album might warrant.
    • 75 Metascore
    • 75 Critic Score
    Hypercaffium Spazzinate
    They’ve practiced patience and waited to arrive at 16 songs that feature either airtight pop melodies or a throwback to the fury of their early days. Never before have those two facets of the band’s personality merged so seamlessly on record.
    • 82 Metascore
    • 75 Critic Score
    For All We Know
    Throughout For All We Know, her vocals display her adventurous spirit, the mixture of electronic and acoustic instrumentation developing into a funky blend.
    • 77 Metascore
    • 75 Critic Score
    Kuiper [EP]
    Kuiper shows Shepherd as an artist still exploring his craft, feeling his way through new surroundings. Though his approach is methodical and workmanlike, he still manages to weave together explosive, transcendent moments throughout.
    • 83 Metascore
    • 83 Critic Score
    Still Brazy
    It’s full of the kind of warm G-funk that never fails to transport you to the part of the country it belongs to.
    • 55 Metascore
    • 42 Critic Score
    Operator
    Operator drags the listener kicking and screaming into what sounds like the soundtrack to the depths of hell, where the only music available is an unrelenting, want-to-bang-your-head-against-the-wall symphony of noise.
    • 66 Metascore
    • 42 Critic Score
    Youth Authority
    The Maddens and co. sound like they’re throwing the obligatory tropes of encroaching middle age against the wall, hoping that something, anything, will stick.
    • 76 Metascore
    • 75 Critic Score
    32 Levels
    It reinforces his talents with hints at how his influence might spread next.
    • 70 Metascore
    • 58 Critic Score
    Loud Hailer
    A mixed blessing. The musical edifice that he and his cohorts have built is strong and daringly modern, but they’ve decorated the insides with spray paint and hashtagged sentiments.
    • 79 Metascore
    • 75 Critic Score
    Nothing's Real
    Shura is at the center of this album, and though the results aren’t always revelatory, she herself remains hugely engaging.
    • 81 Metascore
    • 91 Critic Score
    Blank Face LP
    It’s hard and sinister like a gangster rap album, but it’s also sprawling and even psychedelic at times. Nothing else sounds like it, and that’s a joy to behold.
    • 67 Metascore
    • 67 Critic Score
    Dream World
    These tracks have enough originality to further Araab’s run as a progressive producer and a consummate artist in his own right.
    • 70 Metascore
    • 67 Critic Score
    Nice as F**k
    While it may be true that Forster and Thomas feel less essential than Lewis in the mix, it takes nothing away from what they’ve created together. Whether this surprise offering is the first of many or a one-off effort, NAF justifies its existence as more than a lark or an impulse by having a message and taking a chance.
    • 74 Metascore
    • 75 Critic Score
    Cheetah [EP]
    The producer once again succeeds with delivering music that’s intricate and forward-thinking while still landing within listeners’ grasp.
    • 77 Metascore
    • 75 Critic Score
    IV
    IV sounds as timeless as the instrumentation itself. BadBadNotGood’s work with Ghostface Killah will have drawn in more listeners, but what they’ll find on IV is so much more than they might have expected.
    • 74 Metascore
    • 58 Critic Score
    Command Your Weather
    Command Your Weather is a passing blast--intriguing to devout followers and a punishing rehash for those who’ve already heard and digested the band’s best material.
    • 68 Metascore
    • 75 Critic Score
    Coolaid
    Solo albums like 1993’s Doggystyle and 1996’s Tha Doggfather cemented his reputation as one of the hardest in the business, which has allowed him the freedom to be as brash as he wants to be. On Coolaid, Snoop uses that solid footing and wastes no time taking it back to the G-funk era with “Ten Toes Down”.
    • 73 Metascore
    • 58 Critic Score
    Ellipsis
    Clearly Biffy Clyro see themselves as strivers, a band that charges relentlessly forward. But at times, listeners might wonder if they’re headed in any interesting direction.
    • 83 Metascore
    • 83 Critic Score
    Wildflower
    Wildflower comes out swinging.
    • 77 Metascore
    • 58 Critic Score
    Take Her Up to Monto
    While the album features several standout tracks and stunning vocals, as a whole, over-shined production and mashed-up genres obscure Murphy’s strengths.
    • 78 Metascore
    • 75 Critic Score
    Hit Reset
    While the music of The Julie Ruin may not have as much of the anger and purpose that colored her earlier work, it feels like some of her most personal music yet, a reclamation of herself as a musician.
    • 82 Metascore
    • 91 Critic Score
    Freetown Sound
    Freetown Sound stands concurrently as a deeply personal work and a striking representation of the struggles present in today’s society.
    • 63 Metascore
    • 50 Critic Score
    California
    California doesn’t go out of its way to stay creative. Here lies the death of the immediate hook, but Blink-182 are having fun regardless--and hearing that may be the best part of this album.
    • 77 Metascore
    • 67 Critic Score
    Yoncalla
    Yoncalla borrows heavily from the ‘70s and ‘80s while never seeming anything less than modern--but Yumi Zouma seem to have stumbled upon a formula that separates them just enough to pique interest.
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