Consequence's Scores

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For 4,038 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: 2,752 out of 4038
  2. Mixed: 1,215 out of 4038
  3. Negative: 71 out of 4038
4038 music reviews
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    • 72 Metascore
    • 50 Critic Score
    Passive Me Aggressive You
    It's a welcome escape, but it doesn't have the shape and form of something worth escaping to and remains at best a quality xerox of pop music today.
    • 72 Metascore
    • 75 Critic Score
    Is This the Life We Really Want?
    Is This The Life We Really Want? is easily the most accessible of Waters’ solo work--a distillation in many regards of the anti-fascist, anti-imperialist, anti-greed messages he’s been broadcasting since Pink Floyd.
    • 72 Metascore
    • 83 Critic Score
    King's Disease
    From start to finish, this album ceases to stray from its main concept, and Nas doesn’t have to sacrifice the quality of his music to do so. Primarily produced by Hit-Boy, King’s Disease delivers a feel appropriate for the times and hits the mark as being one of the better rap albums of the year.
    • 72 Metascore
    • 70 Critic Score
    Back To Land
    Back To Land is the most forgiving, clear album in the Wooden Shjips catalog, an interesting step for a band once lauded for their obscurity.
    • 72 Metascore
    • 75 Critic Score
    Planetarium
    Every listener will have to individually cherry pick the songs that work best for them, but these are the ones that best deliver on the possibilities of the album’s premise.
    • 72 Metascore
    • 60 Critic Score
    Palindrome Hunches
    These songs are gracefully played and pleasant, but- like water- they can grow drab and unsatisfying when consumed en masse.
    • 72 Metascore
    • 70 Critic Score
    Violent Hearts
    The songs on Violent Hearts are short overall, the longest holding out at 2:56, but pack enough swinging teenage angst clasped in an arm wrestle with buoyant '50s pop oooh's to charm you into repeated listens.
    • 72 Metascore
    • 70 Critic Score
    Vicious Lies and Dangerous Rumors
    With Lies, Patton doesn't merely get weirder; he pushes the weirdness in a different direction, turning down the club bombast and horns of Sir Lucious Left Foot: The Son Of Chico Dusty in favor of electronica dreamscapes courtesy of indie acts such as Little Dragon and Phantogram.
    • 72 Metascore
    • 70 Critic Score
    Family Perfume, Vol. 1
    The album's greatest quality is its experimentation, its occasional burst of punk emotion ("Soaring pique daily number 2″) and the way it can transition seamlessly into feel-good organ and upbeat acoustic guitar on the next track ("A Hermes Blues").
    • 72 Metascore
    • 67 Critic Score
    Free
    It’s a late-career entry that can’t hold up to his priceless back catalog, but it’s also the work of a guy who at this point really couldn’t give a shit what people think. You’ll enjoy some tracks and soldier through others. But Iggy’s still here, and maybe that’s the most important takeaway of all.
    • 72 Metascore
    • 70 Critic Score
    Negativity
    The party might be coming to an end, but at least Negativity gives enough of a hint that the band might be better off for it.
    • 72 Metascore
    • 75 Critic Score
    Take It, It's Yours
    Take It, It’s Yours, dresses 10 classic punk songs from artists like Wipers, the Gun Club, and Blondie in gorgeous, shimmering hues that sparkle and wink with double entendre.
    • 72 Metascore
    • 67 Critic Score
    Irreal
    It’s a sonic exercise that’s daunting, exciting, and at other times frustrating. But it’s never boring, and when so much music sticks to the script, Disappears still thrill by coloring far outside the lines.
    • 72 Metascore
    • 75 Critic Score
    MCIII
    Even if MCIII falls shy of its lofty predecessor, this record marks his most ambitious outing to date and makes it impossible not to already start anticipating MCIV.
    • 72 Metascore
    • 70 Critic Score
    Trap Lord
    Originally planned as a mixtape, there’s an unfinished feeling to Trap Lord, which in turn lends a lot of promise to the eventual follow-up.
    • 72 Metascore
    • 60 Critic Score
    Mary's Voice
    It's the aural equivalent of a dusty old attic, rife with sounds that evoke memories of earlier times.
    • 72 Metascore
    • 50 Critic Score
    Home
    The album is only about 30 minutes long, but the desire to move on hits long before that, and two strong tracks aren’t enough to save it.
    • 72 Metascore
    • 67 Critic Score
    Manslaughter
    Lyrically and musically, Manslaughter is easily Body Count’s most inspired work since their self-titled debut, because it sounds like a reconciliation of all the misconceptions the band had to deal with in the past.
    • 72 Metascore
    • 67 Critic Score
    Alone For the First Time
    Unlike recent guest-heavy works by Flying Lotus and SBTRKT, there is no glut of unwanted beats between peak performances.
    • 72 Metascore
    • 50 Critic Score
    I Still Do
    I Still Do, a sleepy, cover-heavy, forgettable batch of tunes, will fit pleasantly soundtracking Sunday morning coffee with a newspaper--and if you’re not old enough to be up on Sunday morning or reading a newspaper, it’ll likely be a hard pass.
    • 72 Metascore
    • 67 Critic Score
    Anything but Words
    It’s not perfect, but Banks and Steelz take risks many other artists might avoid, more than proving their worth.
    • 72 Metascore
    • 60 Critic Score
    The Carpenter
    The Carpenter, like many pieces of art, is a record that becomes more relatable with age and, most frighteningly, loss. For those of us that have been lucky thus far, we'll have to wait and see.
    • 72 Metascore
    • 67 Critic Score
    Double Vanity
    BRONCHO slow down on Double Vanity, a pleasant movement in some ways. But like R.E.M.’s Monster, another one of those ambitious garage rock dalliances, the aesthetic is too dense, the result too one-dimensional.
    • 72 Metascore
    • 80 Critic Score
    Stories Don't End
    Building on the alluring guitar solos and gorgeous harmonies that anchored Dawes’ debut album a half decade ago, Taylor Goldsmith & Co. deliver plucky vocals, wry cultural jabs, and inventive time signature shifts to craft a record that is distinctively modern.
    • 72 Metascore
    • 75 Critic Score
    Hopeless Romantic
    The result is her most vulnerable and honest work to date.
    • 72 Metascore
    • 58 Critic Score
    Inventions
    Inventions is another mood-friendly collection of ambient works that never impresses too hard upon your feelings.
    • 72 Metascore
    • 67 Critic Score
    Colors
    You can still hear marginal residue of the man who managed to be compared to both Dylan and Prince within the same five-year period. You just won’t find those comparisons so much lately.
    • 72 Metascore
    • 50 Critic Score
    Valley Tangents
    Valley Tangents plays more like an exercise or experiment than a fully-realized album.
    • 72 Metascore
    • 58 Critic Score
    Island Intervals
    His focus on atmosphere isn’t as successful as it should be, especially when the best songs are often the most straightforward.
    • 72 Metascore
    • 70 Critic Score
    Cyclops Reap
    Unsurprisingly, the fuzz escapes through every pore, seeing Presley revving through erratic, lovely bedroom recordings.
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