Consequence of Sound's Scores

  • Music
For 2,360 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 5.7 points lower than other critics. (0-100 point scale)
Average Music review score: 66
Highest review score: 100 Gentlemen At 21 [Deluxe Edition]
Lowest review score: 10 BAYTL
Score distribution:
2,360 music reviews
    • 60 Metascore
    • 60 Critic Score
    It’s an easy album to love, but hard to love it more than anything else.
    • 60 Metascore
    • 33 Critic Score
    Maybe it’s because we’ve grown accustomed to Cudi’s style and the influence it’s had over other artists, but at this point, it just sounds a little bit stale.
    • 60 Metascore
    • 70 Critic Score
    Secondhand Rapture blurs the line between throwing up our hands in defeat and throwing them up in joy.
    • 60 Metascore
    • 50 Critic Score
    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
    Many of the tracks start out promising, but they don't have the excitement needed to keep listeners hooked.
    • 60 Metascore
    • 75 Critic Score
    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
    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
    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
    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
    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
    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 carries its own weight.
    • 60 Metascore
    • 60 Critic Score
    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
    A deluge of whining that's lyrically incomprehensible and becomes sonically dull after one song.
    • 60 Metascore
    • 60 Critic Score
    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
    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
    • 70 Critic Score
    The production isn’t totally underwhelming, just streamlined to develop a sense of dream-like haziness.
    • 59 Metascore
    • 70 Critic Score
    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 brandishes an entertaining personality that breathes fresh life into a tried and true trend.
    • 59 Metascore
    • 80 Critic Score
    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
    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 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
    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
    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
    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
    • 60 Critic Score
    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 is neither terrible nor extraordinary.
    • 59 Metascore
    • 58 Critic Score
    With Skrillex’s synth swipes holding it together, the album cannot help but become disjointed due to the numerous collaborators.
    • 59 Metascore
    • 50 Critic Score
    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 is certainly a pleasant listening experience but not quite a memorable one, stopping just short of developing its own unique personality.