Consequence's Scores

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For 4,040 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: 2,754 out of 4040
  2. Mixed: 1,215 out of 4040
  3. Negative: 71 out of 4040
4040 music reviews
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    • 60 Metascore
    • 70 Critic Score
    Secondhand Rapture
    Secondhand Rapture blurs the line between throwing up our hands in defeat and throwing them up in joy.
    • 60 Metascore
    • 42 Critic Score
    A Better Tomorrow
    While the goodwill is obfuscated by a lack of direction, A Better Tomorrow is made further futile because of the misinformed goal of simply giving the fans another Wu-Tang album.
    • 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.
    • 60 Metascore
    • 50 Critic Score
    Start and Complete
    Many of the tracks start out promising, but they don't have the excitement needed to keep listeners hooked.
    • 60 Metascore
    • 75 Critic Score
    Disgraceland
    To their credit, The Orwells own their brattiness, but they also know their way around a good hook. That’s a devastating combo, and in the case of this album, it makes for a more-than-satisfying modern rock record that’s both carefully crafted and shot straight from the hip.
    • 60 Metascore
    • 70 Critic Score
    Paul McCartney: Ocean's Kingdom
    Yet while it's not really great music, comparable to the masterful works of Tchaikovsky or Stravinsky, it has its day by the sea.
    • 60 Metascore
    • 50 Critic Score
    Live Blood
    The issue with the release of Live Blood is that it comes across as the same photo [of previous albums, "Scratch My Back," and "New Blood"], with no change at all.
    • 60 Metascore
    • 60 Critic Score
    Dedication 4 [Mixtape]
    For all its flaws, this tape still stands as evidence that Dwayne Carter isn't falling off as much as you might be hearing about.
    • 60 Metascore
    • 60 Critic Score
    thefearofmissingout
    While half of the album succeeds in combining a slew of genres and sonic elements into a cohesive mix, the experiments don't always work so well.
    • 60 Metascore
    • 70 Critic Score
    Magna Carta Holy Grail
    MCHG packs a lot of ideas, and not all of them prove very useful, or even well-articulated, by the end. The pieces congeal, eventually, to form a semblance of one of our most prominent cultural figures. The image just isn’t as defined, as focused, or as powerful, as it once was.
    • 60 Metascore
    • 60 Critic Score
    Hunters
    Hunters carries its own weight.
    • 60 Metascore
    • 60 Critic Score
    Tha Carter IV
    Overall, by the end of the album it feels like Wayne maybe pushed Tha Carter series one installment too far.
    • 60 Metascore
    • 30 Critic Score
    This Means War
    A deluge of whining that's lyrically incomprehensible and becomes sonically dull after one song.
    • 60 Metascore
    • 60 Critic Score
    Wish Hotel [EP]
    Though these five songs trend closer to his earlier material, Wish Hotel makes it clear that Mondanile has become more adept at writing fully-formed, accessible songs.
    • 60 Metascore
    • 60 Critic Score
    Testimonium Songs
    An intriguing if uniquely disjointed experiment, and one that likely benefits quite a bit from familiarity with Charles Reznikoff’s work or seeing its theatrical accompaniment.
    • 60 Metascore
    • 50 Critic Score
    A Head Full of Dreams
    No matter how overblown or nonsensical Coldplay have progressively gotten since 2002’s watermark A Rush of Blood to the Head, as long as they deliver one gobsmacking single per album, they’re kings--and rightfully so. That’s how you build a career. A Head Full of Dreams follows suit with first single “Adventure of a Lifetime”.
    • 60 Metascore
    • 70 Critic Score
    Limits of Desire
    The production isn’t totally underwhelming, just streamlined to develop a sense of dream-like haziness.
    • 59 Metascore
    • 70 Critic Score
    Jamaica Plain [EP]
    Though it spans just 16 minutes between three songs, Jamaica Plain is a must-hear for Violators fans interested in a musical snapshot of the band’s early stages.
    • 59 Metascore
    • 60 Critic Score
    Killing Time
    Killing Time brandishes an entertaining personality that breathes fresh life into a tried and true trend.
    • 59 Metascore
    • 58 Critic Score
    Low in High School
    If you’ve loved his music since The Smiths, and their music actually brings you joy, well, then there are things to be found on Low in High School that could possibly, maybe, present a solid argument for attempting to find a way to suck the goodness from this album ... while spitting out the pulp that is Morrissey himself.
    • 59 Metascore
    • 80 Critic Score
    Tron: Legacy Reconfigured
    It's by turns soft and loud, gentle and harsh, humanistic and totally machine. And it's very, very danceable. It's the album you were hoping Daft Punk would write last time, only Daft Punk didn't write it-but they did score a major assist from their friends here.
    • 59 Metascore
    • 50 Critic Score
    Tides End
    A portion of Tides End listens like a dramatic over-correction into the electro-pop realm. However, by album’s end, Kilfoyle and Verbos find the intersection between vocal melancholy and production excess.
    • 59 Metascore
    • 80 Critic Score
    Rolling Papers
    Rolling Papers may be Wiz Khalifa's studio debut and his breakthrough record, but as far as mainstream rap goes, it's far from it.
    • 59 Metascore
    • 70 Critic Score
    Uncanney Valley
    The band is so good together, though, and sound so at peace and at ease knocking these songs out, that it makes it hard to even dislike the record, problems though it may have.
    • 59 Metascore
    • 50 Critic Score
    Education, Education, Education & War
    The rigid, suited precision with which they approach their craft makes the band good at their jobs, but combined with the lack of musical distance from their contemporaries, it also dims the album’s luster.
    • 59 Metascore
    • 70 Critic Score
    Roses
    Arguably mellower, definitely matured, Roses is a collection that will please more than enough people to chart without quite winning best in bloom.
    • 59 Metascore
    • 42 Critic Score
    Rubba Band Business: The Album
    Rubba Band Business, is, unfortunately, more of the same.
    • 59 Metascore
    • 67 Critic Score
    Delta
    Though “experimental” may be a bit of an overstatement, the best parts of Delta prove that, in the hands of the right producer, Mumford & Sons remain capable of recording radio-ready earworms that challenge expectations (a little, at least) while still retaining the major qualities that made them superstars in the first place.
    • 59 Metascore
    • 60 Critic Score
    Lightning
    On their fourth LP, Lightning, the lovebirds have made songwriting a priority; but, as is the case with their high-energy, perpetually happy, DIY, song-along anthems, the lyrics alternate between the profound and the overwrought.
    • 59 Metascore
    • 60 Critic Score
    Dead Son Rising
    Dead Son Rising is neither terrible nor extraordinary.
    • 59 Metascore
    • 42 Critic Score
    This Unruly Mess I've Made
    TUMIM shows a regression to the mean, further establishing him as an above-average emcee whose runaway hype train simply ran off the tracks.
    • 59 Metascore
    • 58 Critic Score
    Recess
    With Skrillex’s synth swipes holding it together, the album cannot help but become disjointed due to the numerous collaborators.
    • 59 Metascore
    • 33 Critic Score
    The Beautiful & Damned
    There’s no interruption, no welcome silence between discs one and discs two. No, just 20 songs, a brutal slog of stacks and condoms and stacks and condoms and occasionally a disembodied ass without any other parts of a woman sighted.
    • 59 Metascore
    • 50 Critic Score
    Born Villain
    Subject matter such as the aforementioned romanticism is refreshing, and maybe that will be pushed to the foreground in future records, but it only appears in spurts on Born Villain.
    • 59 Metascore
    • 50 Critic Score
    Silesia
    Silesia is certainly a pleasant listening experience but not quite a memorable one, stopping just short of developing its own unique personality.
    • 59 Metascore
    • 60 Critic Score
    Chickenfoot III
    III is probably a slight improvement over the past effort in places where it counts--I just don't see enough people caring beyond passive curiosity in the long-term.
    • 59 Metascore
    • 80 Critic Score
    The Black Belles
    They play compulsively listenable '60s garage rock draped in black lace and a sneer. Whatever they don't offer in originality, they make up for in commitment.
    • 59 Metascore
    • 70 Critic Score
    >Album Title Goes Here<
    >album title goes here< may show a more mature, artistically evolved deadmau5, but it'll still sell out auditoriums.
    • 59 Metascore
    • 60 Critic Score
    Synesthesia
    Too often, elements of the LP are unrecognizable from that of its competition.
    • 59 Metascore
    • 75 Critic Score
    The Meth Lab
    Across the album’s 19 tracks, Meth’s nuanced rapping, the cohesive production, and the guest rappers’ willingness to be team players cohere into an affirmation for Meth’s fans.
    • 59 Metascore
    • 70 Critic Score
    Beta Love
    None of the tracks break four minutes. Yet there are clear moments of self-reflexivity that make the new direction an easy adjustment.
    • 59 Metascore
    • 40 Critic Score
    Stade 2
    The album's a little too incoherent for even the most devout of electroheads.
    • 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.
    • 59 Metascore
    • 40 Critic Score
    Fool Metal Jack
    Where once they were on the cusp of the avant, breaking down walls through experimentation and sonic manipulation, with Fool Metal Jack, rather than come off as updated or even retro-fitted, they simply sound dated.
    • 59 Metascore
    • 70 Critic Score
    This Modern Glitch
    The effort's as sweet as any candy and just as jarring as inhaling 11 inches of the stuff in one sitting.
    • 59 Metascore
    • 70 Critic Score
    Ways To Forget
    Clock Opera's brand of mutilated pop music shimmers as a genuinely profound musical experience. Excuse the awful pun, but their time is most definitely now.
    • 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.
    • 59 Metascore
    • 33 Critic Score
    Matter
    The world Grobler crafts on Matter isn’t colored with the iridescent shades of blue from his early career; it is now a palate so bright and garish that it hurts the eyes.
    • 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.
    • 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.
    • 59 Metascore
    • 50 Critic Score
    Again and Again
    The 11 tracks on their sophomore record, Again and Again, compromise a brief sugar high clocking in at just under 30 minutes, the totality of the album a fun, slightly too tame summer listen.
    • 59 Metascore
    • 33 Critic Score
    Sweet Disarray
    For someone who records under his own name and not that of a collective, Croll remains a mystery, a patchwork of influences content to blend in, not to stand out.
    • 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.
    • 59 Metascore
    • 70 Critic Score
    Tape Club
    Tape Club's winning collection of songs should finally get some well-deserved exposure to prove that SSLYBY has nothing to be embarrassed about.
    • 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.
    • 59 Metascore
    • 40 Critic Score
    The Duke
    The Duke is too scattershot, and Jackson doesn't quite know what genre to focus on.
    • 59 Metascore
    • 50 Critic Score
    Hit the Waves
    Hit the Waves is both the darkest and the glossiest Mary Onettes record to date. That tension between style and content creates a few engaging moments, but doesn’t offer much for listeners who haven’t already subscribed to the band’s ’80s rehash.
    • 59 Metascore
    • 50 Critic Score
    With a Little Help from My Fwends
    We’re left with a decent covers album that will probably fare better than their Dark Side tribute.
    • 58 Metascore
    • 20 Critic Score
    Overlook
    Taylor's whispery, timid voice sounds restrained on nearly every track. Coupled with repetitive lyrics and monotonous rhythms, Overlook is a yawn-inducing piece.
    • 58 Metascore
    • 50 Critic Score
    Trágame Tierra
    Bates sounds separate from Gibbs; their aural love affair falls flat. Bates will have to soldier on behind Big Black Delta, and hopefully with more time and experience he can break through and deliver the kind of emotional overtures he’s only just hinted at.
    • 58 Metascore
    • 60 Critic Score
    Luciano Berio: Laborintus II
    At first glance, it's easy to brush off Laborintus II as half an hour of experimental drivel, but those that stick with it and let it soak will be rewarded.
    • 58 Metascore
    • 50 Critic Score
    Euphoric Heartbreak
    Album closer "Change", a quiet piano-led piece which experiments with spoken word is a poignant and welcome diversion which, if Glasvegas had looked to explore it more fully, could have furnished a much stronger and more wide-ranging sophomore effort. As it stands, this one slumps. Low.
    • 58 Metascore
    • 70 Critic Score
    These United States
    The band's willingness to persevere rather than fall victim to the misery gives These United States a winning quality.
    • 58 Metascore
    • 50 Critic Score
    Now
    The whole album feels like it has been flattened out for the sake of streaming services. Without the big, chewy hooks, the songs tend to bleed together indistinguishably in hindsight.
    • 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.
    • 58 Metascore
    • 42 Critic Score
    Nasir
    His lyricism, though timely at points, is largely impersonal if not flat-out pedestrian and makes NASIR the first album in Nas’ catalog that Nas has failed to show up for.
    • 58 Metascore
    • 60 Critic Score
    For Years
    Overall, McAndrews’ solo endeavor is a strong first impression that explores post-dubstep twists and turns in awe-inspiring fashion, though over saturation in places makes the record difficult to completely comprehend.
    • 58 Metascore
    • 67 Critic Score
    Love Frequency
    Although each track aside from the instrumental “Liquid Light” remains prime for an indie-focused dance floor (thanks in part to production credits by Erol Alkan and James Murphy), a new sense of calm introspection arrives with the band’s revelations.
    • 58 Metascore
    • 30 Critic Score
    The Vision
    It's the uninspired and homogenous manner in which Joker goes about ironing out nearly everything that made his tunes memorable to begin with that makes The Vision one of the most disappointing debuts of the year.
    • 58 Metascore
    • 42 Critic Score
    Younger Now
    Just as things seem a little promising, the limp “Thinkin'” struts in like a Carrie Underwood c-side and firmly sets the tone for the record’s toothless closing third.
    • 58 Metascore
    • 60 Critic Score
    For Professional Use Only [Mixtape]
    The album may have its shortcomings, but in the end it is a solid statement on his appreciation for varying forms of production and his intent to further embed these during his live sets and upcoming studio albums.
    • 58 Metascore
    • 42 Critic Score
    Smile
    Perry has always been a top-notch entertainer, who tries on a range of styles and wants to make folks feel good. I’m not asking her to be anything else. But what comforted us before, both in pop and faith, doesn’t hit the same anymore.
    • 58 Metascore
    • 50 Critic Score
    Bad Blood
    There’s nothing inherently wrong with this too-many-feelings, heart-on-your-sleeve approach; it’s just that, played out over the course of an entire album (or on the airwaves, over the course of several years), the whole thing starts to feel a bit contrived.
    • 58 Metascore
    • 67 Critic Score
    Evolution
    The heavy songs on Evolution should please longtime fans, with a couple harkening back to the dynamism of Disturbed’s first couple of albums, but the glut of softer tracks may have been served better on a separate acoustic EP.
    • 58 Metascore
    • 33 Critic Score
    Supermodel
    Equally appropriately, with increased attention comes increased expectations and increased scrutiny, neither of which are met by this sophomore release.
    • 58 Metascore
    • 50 Critic Score
    Indicud
    This record just proves that Kid Cudi has a lot of sorting to do, and continuing down the same old path simply won’t cut it in the long-run.
    • 58 Metascore
    • 50 Critic Score
    Fallen Empires
    Keyboard effects aside, it's the same-old same-old, and whether you love Snow Patrol or hate 'em, Fallen Empires will do little to change your mind.
    • 58 Metascore
    • 50 Critic Score
    You and I
    It’s upon closer inspection that You And I starts to lose some of its luster. To start with, some of these songs have appeared in various forms across his live catalog.
    • 58 Metascore
    • 90 Critic Score
    Young the Giant
    This complete command over their craft really sets these Orange County natives apart, resulting in the kind of record that grabs you at first listen and becomes more meaningful every time through.
    • 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.
    • 58 Metascore
    • 60 Critic Score
    Credo
    You won't find a "Don't You Want Me" on this disc, but you will find a band that's aged a lot better than many of their contemporaries, as well as a few tracks that will stand up well alongside those of their modern-day followers.
    • 58 Metascore
    • 70 Critic Score
    Cave Rave
    Ultimately it’s their underlying acoustic, Spanish flavor that sets Crystal Fighters apart from the other bubbly synth-pop acts on the market today.
    • 58 Metascore
    • 50 Critic Score
    If I'm Honest
    If I’m Honest starts with a barnburner about lacking suds (“Straight Outta Cold Beer”) and ends with a call to Jesus (“Savior’s Shadow”). It’s a trajectory seemingly dictated by Country Albums For Dummies.
    • 58 Metascore
    • 75 Critic Score
    Weezer (Teal Album)
    It’s like live band karaoke, and everyone is invited, which is all this really boils down to at the end of the day. They’re not reinventing the wheel; they’re using it.
    • 58 Metascore
    • 70 Critic Score
    Big Talk
    Though Big Talk doesn't deviate from the trusted rock-pop path with a few bluesy stepping stones, it's a satisfying listen in which this drummer-turned-front man holds his own incredibly well.
    • 58 Metascore
    • 60 Critic Score
    The Path of Totality
    Sonically, The Path of Totality feels culturally authentic and trendy, while at the same time, pounding enough for mosh pits and dance floors alike.
    • 58 Metascore
    • 50 Critic Score
    No One Knows What Happens Next
    Variation goes a long way, and this album could have used it.
    • 57 Metascore
    • 50 Critic Score
    Illusion [EP]
    Illusion is simple and retro-sounding, and as a short first record, it shows promise for future albums from this group of old friends.
    • 57 Metascore
    • 70 Critic Score
    Universal Pulse
    Universal Pulse is the band's best release since 2001&#8242;s From Chaos.
    • 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.
    • 57 Metascore
    • 60 Critic Score
    Native To
    Even though Native To is a pleasant introduction, there's nothing urgent here.
    • 57 Metascore
    • 80 Critic Score
    Is the World Strange or Am I Strange?
    A wacky, emotionally resonant collection of songs with the best kind of musical ADHD out there.
    • 57 Metascore
    • 30 Critic Score
    Unexpected Victory
    Victory isn't going to blow your mind by any means, but it's the first time in a long time a Wu-Tang brother has stumbled.
    • 57 Metascore
    • 58 Critic Score
    7 [EP]
    7 is musical Chex Mix — lightweight and best consumed in selective increments, but also strangely addictive.
    • 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.
    • 57 Metascore
    • 60 Critic Score
    Velvet Changes
    He may not be the most verbose artist, but the temperament of a reluctant romantic is a quality he shares with some great ones.
    • 57 Metascore
    • 60 Critic Score
    Born This Way: The Remix
    Just in time for the holiday season, there's something for everyone on Born This Way: The Remix.
    • 57 Metascore
    • 70 Critic Score
    Until Now
    For Swedish House Mafia fans, Until Now is exactly what they wanted out of the trio.
    • 57 Metascore
    • 50 Critic Score
    18 Months
    Unfortunately, tracks like [Rihanna's "We Found Love"] and, to a lesser extent, Welch's slightly crowded "Sweet Nothing" float like life rafts atop a sugary sea of tunes that will be the soundtrack of television commercials for months to come.
    • 57 Metascore
    • 25 Critic Score
    No. 6 Collaborations Project
    On this record, he’s taking a stab at, well, every genre. It doesn’t pay off, though, because this effort results in a sense of emptiness, an abyss of authenticity or real feeling. And that’s the problem: Despite writing “emotional” ballads for a huge part of his career, none of us really have any idea who Ed Sheeran is.
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