Consequence's Scores

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:
4039 music reviews
    • 48 Metascore
    • 16 Critic Score
    The most remarkable aspect of Sirens, aside from its general awfulness, is how unnecessary it all feels.
    • 48 Metascore
    • 42 Critic Score
    Likely under tight deadline, each track tends to live squarely within the individual producer’s standard production palette.
    • 48 Metascore
    • 60 Critic Score
    To say this album is a complete miss would be unfair. In reality, it's a great band reaching for a completely different horizon, all with hints of their previous selves.
    • 48 Metascore
    • 50 Critic Score
    For all its pleasures, though, Love is the Law feels a bit overstuffed at 17 tracks.
    • 48 Metascore
    • 50 Critic Score
    Sublime With Rome is its own creature, and Yours Truly is a very decent jam album.
    • 47 Metascore
    • 60 Critic Score
    Although the overall plot of the album is sparse, it's hard to deny the enjoyment it can bring to you. If you know what to expect when you hear it, you can take The Beginning for what it is: a feel good album.
    • 47 Metascore
    • 70 Critic Score
    With time, greater individuality will come. Right now, this is an accomplished and emotive statement of intent, cinematic in scope and able to raise goose bumps at will.
    • 46 Metascore
    • 60 Critic Score
    The Devil's Rain feels like a 50/50 shot-in-the-dark project, starting in a place unsure of its own existence and finishing strong with the uncompromising "Death Ray."
    • 46 Metascore
    • 33 Critic Score
    A muddled mess of a record from a band that completely abandoned any sense of identity.
    • 46 Metascore
    • 25 Critic Score
    The Florida rapper’s limited strengths and many weaknesses become highly detectable on Harverd Dropout. Under Pump’s control, the album piles up songs without structure, lines without meaning, and hooks without melody; it’s utterly tasteless.
    • 46 Metascore
    • 40 Critic Score
    (together) would have made more sense as a second disc in a deluxe version of Burst Apart, where uber-fans who needed variations on the songs would've thought nothing of taking the extra plunge. Unfortunately, as a separate release, it just doesn't have the legs to stand on its own.
    • 45 Metascore
    • 30 Critic Score
    Lulu is essentially a piece of shock art that's littered with vulgarity both lyrical and musical.
    • 45 Metascore
    • 70 Critic Score
    It’s always a good reminder that everyone wonders what’s wrong with them, especially when its done so honestly, plainly, and engagingly as this.
    • 45 Metascore
    • 50 Critic Score
    8
    An outing as plain as its title. It is the band’s most consistent album in years, never dipping into any true clinkers but never approaching anything close to a risk either.
    • 44 Metascore
    • 40 Critic Score
    His latest work, Hell in a Handbasket, however, takes the success of Teddy Bear and pushes it a few awful steps backward.
    • 44 Metascore
    • 33 Critic Score
    As it stands, this album feels like a few good ideas mired in a mess of half-formed sketches, rough recordings, and simple cliches.
    • 42 Metascore
    • 50 Critic Score
    Despite the years spent on it, the Original Cast Recording of Spider-man: Turn Off the Dark is a mixed bag. It would seem that Bono and Edge went into this score thinking it would be quick, easy, and painless. The truth is that Broadway musicals are none of those things, and their lack of knowledge washes over these 14 songs.
    • 42 Metascore
    • 42 Critic Score
    It appears that the group is still plagued by these awkward growth spurts.
    • 42 Metascore
    • 40 Critic Score
    The problem with Somethin' Bout Kreay is that the record is inevitably one of novelty, and it wears thin fast.
    • 42 Metascore
    • 40 Critic Score
    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.
    • 39 Metascore
    • 10 Critic Score
    Just another unnecessary, forgettable mixtape.
    • 38 Metascore
    • 42 Critic Score
    If your first language is, say, Russian or Chinese, then you might enjoy the musicality of some of 6ix9ine’s verses even though they blur together. Unfortunately, Dummy Boy is not improved with a knowledge of English, and indeed that might be an obstacle to enjoying the album.
    • 35 Metascore
    • 30 Critic Score
    This CD is worse than a nu-metal reprise, in that it doesn't give true ragers an outlet, but instead facilitates the same false machismo that tribal tats and fake bench-press numbers suggest.
    • tbd Metascore
    • 50 Critic Score
    Too often, Vaccine is overly intent on bouncing between genres and styles.
    • tbd Metascore
    • 60 Critic Score
    While the best part about the tape is its track-for-track coherence–unlike most of Mane's releases, there isn't a single atrocious or incongruous moment here–the worst part is that there isn't much difference between its peaks and valleys.
    • tbd Metascore
    • 60 Critic Score
    Although the variety of supporters helps, Searching is at least eight songs too long; the concept and Shatner's style often wear out their welcome.
    • tbd Metascore
    • 70 Critic Score
    Wild One is a deeply personal tale of coming into adulthood from a band that certainly has some promising growth ahead.
    • tbd Metascore
    • 67 Critic Score
    With all these lovely and understated moments, Driver is a worthy and rewarding sophomore effort, even if it’s not the most dynamic.
    • tbd Metascore
    • 91 Critic Score
    Dream Widow could’ve easily been a charming but disposable bit of marketing for Studio 666, or a throwaway pastiche of several legendary death and thrash metal groups. Fortunately, it transcends both of those possibilities to be a genuinely great record. The musicianship is expectedly superb, but what’s most commendable is Grohl’s ability to shift his voice from familiar grittiness to full guttural hegemony.