Consequence of Sound's Scores

For 3,418 reviews, this publication has graded:
  • 39% higher than the average critic
  • 4% same as the average critic
  • 57% lower than the average critic
On average, this publication grades 5.1 points lower than other critics. (0-100 point scale)
Average Music review score: 67
Highest review score: 100 This Is Our Science
Lowest review score: 10 BAYTL
Score distribution:
3418 music reviews
    • 70 Metascore
    • 60 Critic Score
    Putting aside some of those rough edges, however, the record is a more than adequate diversion until Real Estate return with LP3.
    • 66 Metascore
    • 60 Critic Score
    What's disheartening about In Waves is its lack of a clear identity; the band seem to be targeting too much at once.
    • 72 Metascore
    • 60 Critic Score
    It's the aural equivalent of a dusty old attic, rife with sounds that evoke memories of earlier times.
    • 70 Metascore
    • 60 Critic Score
    While Anything in Return might be the most consistent of any of his records up to this point, it lacks the punch to break through.
    • 76 Metascore
    • 60 Critic Score
    Son of Rogues Gallery merits a couple of hours of anyone’s time. Just don’t expect to put it all on repeat. The tracks you do will be worth it.
    • 76 Metascore
    • 60 Critic Score
    Perils‘ biggest strength is also its biggest weakness: even at its best, it merely recalls the strengths of its individual players, instead of charting its own course.
    • 71 Metascore
    • 60 Critic Score
    Allusions to apples are all across the 16 self-produced tracks, along with glimpses of snakes, countless temptations, and the feeling that Cole knows too much for his own good.
    • 69 Metascore
    • 60 Critic Score
    Though they don’t jar in any way, it’s easy to get the sense that lyrics aren’t the first thing that Cohen considers when constructing a song. It’s more that they glide over and drift in and out of the music without forcing you to stop to examine them.
    • 76 Metascore
    • 60 Critic Score
    Blondes need to hone themselves-become harder, better, faster, stronger-if they wish to become memorable, to stand out in listeners' minds as something tangible and unique.
    • 65 Metascore
    • 60 Critic Score
    Most songs comfortably fit into a category I maybe unfairly have in my head called “As heard on The O.C.”
    • 70 Metascore
    • 60 Critic Score
    Two downtempo instrumentals do little to elevate their surroundings, and the album’s longer tracks reiterate more than they evolve. Still, Houses accomplish their aim of filling an hour with a cinematic, transportive music--a perfect soundtrack to milling about the end times.
    • 62 Metascore
    • 60 Critic Score
    Glowing Mouth illustrates Wilson's impressive, technically precise vocal diversity, if not necessarily his range.
    • 67 Metascore
    • 60 Critic Score
    As evidenced by their remixes, the instrumental tracks here, and some of the pithier vocals, Javelin are high-caliber producers; their lyrics and melodies just haven’t matched that intensity.
    • 65 Metascore
    • 60 Critic Score
    Ode To Sentience, while it's far from being a radical departure, has plenty of surprises.
    • 74 Metascore
    • 60 Critic Score
    People, Hell and Angel isn’t perfect--or godly--but it does contain some canon tracks that every Hendrix fan should hear.
    • 74 Metascore
    • 60 Critic Score
    In a perfect world, he'd have everything necessary to run the blues flag worldwide; for now, we'll have to settle for something merely enjoyable.
    • 57 Metascore
    • 60 Critic Score
    Just in time for the holiday season, there's something for everyone on Born This Way: The Remix.
    • 62 Metascore
    • 60 Critic Score
    The range of effects the place has on the folk singer resulted in his most resonant work yet.
    • 76 Metascore
    • 60 Critic Score
    CVI
    CVI is a serviceable debut-with remarkable vocal performances-but Royal Thunder sounds caught between what it is (a blues-wielding powerhouse) and what it aspires to be (prog-metal escapism).
    • 71 Metascore
    • 60 Critic Score
    Blazing Gentlemen (and many of Pollard’s other releases) are less an album than a suite.
    • 69 Metascore
    • 60 Critic Score
    Compared to Fourgeaud’s 2005 debut, Smash, there’s a new clarity within the arrangements. Clarity that allows the album’s inspirations to excessively bleed through a disorienting IDM facade.
    • 74 Metascore
    • 60 Critic Score
    While there is more focus to the classically tinged electro-pop songwriting on Soft Fall than their last album (2010′s Nocturne of Exploded Crystal Chandelier), it shows up in moments, and disappears entirely at others.
    • 71 Metascore
    • 60 Critic Score
    Let It Beard might be the weirdest but most original album of the year.
    • 71 Metascore
    • 60 Critic Score
    We get a Harry Fraud production showcase, with limited Action highlights--a moderately enjoyable listen that’s nasty, but unsatisfying.
    • 68 Metascore
    • 60 Critic Score
    Even with the cultural grandiosity described here, in many ways, Lord Huron's music is pretty standard Americana fair: catchy twang through a hazy lens.
    • 56 Metascore
    • 60 Critic Score
    As toe-tapping or even eyebrow-raising as some of rEVOLVEr's 17 songs are (overlong at 66 minutes of no skits, just music), there's little to nothing here to put it over the top.
    • 70 Metascore
    • 60 Critic Score
    Equal parts good time and fresh, original takes on these classic tracks, the band offers a medley of styles that color these standards in a new light.
    • 71 Metascore
    • 60 Critic Score
    When it falls, it’s awkward, but when it gets there, it gets there. The blunders are all Sebadoh, but so are the gems.
    • 73 Metascore
    • 60 Critic Score
    While wild, boisterous garage rock is hardly hip in mid-2011, the breakneck speed and balls-out ferocity of Tan Bajo would be welcome at any time.
    • 68 Metascore
    • 60 Critic Score
    For those up to the challenge, SUM/ONE is a unifying electronic endeavor, astute in its own deconstruction for an indie crossover, and rife with enough low-end euphoria to get the most dedicated basshead bouncing.