Consequence of Sound's Scores

  • Music
For 2,210 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 M B V
Lowest review score: 10 BAYTL
Score distribution:
2,210 music reviews
    • 76 Metascore
    • 83 Critic Score
    Overall, Do It Again feels like an exploration for all involved, and even manages to address gender politics in discreet but intriguing ways.
    • 79 Metascore
    • 83 Critic Score
    Even if the method of delivery is not the most effective, it’s a positive thing for both artist and listener to be pushing further, trying harder, and exploring uncomfortable, new terrain. Ignoring that would be a mistake.
    • 89 Metascore
    • 83 Critic Score
    There’s little that’s playful inside Superunknown. It sounds more like Black Sabbath running for their lives, about to crack under the pressure, but then, at the last minute, escaping--and thriving.
    • 82 Metascore
    • 83 Critic Score
    They’ve always done an exceptional job of bucking irony and sticking to their own earnest agenda, and this latest effort is no different; you’d be hard-pressed to find anything within a stone’s throw of a radio hit among these nine tracks, but you will find a smooth, almost flawlessly cohesive whole.
    • 76 Metascore
    • 83 Critic Score
    This is a moody, angry, and soulful export from what modern anthropology insists is a happy-go-lucky area--Denmark.
    • 76 Metascore
    • 83 Critic Score
    When you listen to 1000 Forms of Fear and hear the real pain in her beautiful, guttural vocal hiccups, it doesn’t feel like a voyeuristic experience but, rather, like an old friend’s new hurting or your own past mistakes.
    • 78 Metascore
    • 83 Critic Score
    Alvvays has legitimately great songs, boasting sharp lyrics, comforting arrangements, and tics that give their music personality that can’t happen too deliberately.
    • 82 Metascore
    • 83 Critic Score
    Whether or not you’re willing to put in the time, Lese Majesty holds attention as soon as opener “Dawn in Luxor” kicks in. That’s plenty to like.
    • 81 Metascore
    • 83 Critic Score
    It’s not as fun as 2007’s Ga Ga Ga Ga Ga or 2005’s Gimme Fiction, but it’s just as punchy, while also sticking with the ambition that made Transference arguably so intriguing despite its muddled demeanor.
    • 87 Metascore
    • 83 Critic Score
    LP1
    LP1 isn’t anything revolutionary; it’s a frankly expressed project focused on the dualism between love and lust, reality and fantasy.
    • 76 Metascore
    • 83 Critic Score
    Despite its title, which could suggest some sort of nostalgic exercise, Experiments in Time succeeds because it’s not concerned with channeling any particular time whatsoever.
    • 80 Metascore
    • 83 Critic Score
    All of these techniques--the streamlined mixing, the honeycombed harmonies, the poppy sci-fi synths--build a sonic unity made all the more bright when surrounded by the irreverent lyrics.
    • 76 Metascore
    • 83 Critic Score
    Part of the success of After the End lies in its seamless and smart sequencing.
    • 80 Metascore
    • 83 Critic Score
    His new album and second with Chicago’s Bloodshot Records, The No-Hit Wonder, is brimming with vivid and infectious songwriting.
    • 77 Metascore
    • 80 Critic Score
    The grandeur is only slightly greater than it was before, but they've discovered a certain pop sensibility that was previously absent. And not only have they discovered this attribute about themselves, but they have honed in on that particular trait and made it the focus of the entire album.
    • 61 Metascore
    • 80 Critic Score
    This fulfilling 10 track album has very few holes, and if this is just a taste of what he has in the vaults for either himself or for other artists, he should be racking up some Grammy's shortly.
    • 70 Metascore
    • 80 Critic Score
    It's different. It's well-written. It's emotive. Those three things are hard enough to find in music these days, let alone in one place.
    • 83 Metascore
    • 80 Critic Score
    That framework [on 2008′s Lost in the Sound of Separation] is largely in tact on the new effort, except it's decidedly richer and more vibrant, showcasing each member's strengths in ways not realized before in Underoath's decade-old career.
    • 66 Metascore
    • 80 Critic Score
    He's not relying on anybody else out there to make something unique for him to sample; he's making them all himself. Joel Zimmerman only has to rely on deadmau5, and the party won't ever stop. And the mouse is far from dead.
    • 71 Metascore
    • 80 Critic Score
    With music from the nerdy recesses of his mind, to a triumphant release that happily displays some of his more off-center offerings, Adams continues to be a presence in music, this year and beyond.
    • 77 Metascore
    • 80 Critic Score
    This is in many ways what you'd expect from a new Wire album. It has so many pieces of their signature sound; it has the reinvention, the added textures, and ideas.
    • 77 Metascore
    • 80 Critic Score
    The balance of scenery and sins as well as some jangly guitar work from R.E.M.'s Peter Buck and the glassy background pipes of Gillian Welch render The King Is Dead a middle-of-the-road record, a pleasant, introspective stroll through the cottonwoods whose creaky comfort gets The Decemberists out of their comfort zone.
    • 66 Metascore
    • 80 Critic Score
    All in all, The Party Ain't Over proves to be a bold success.
    • 72 Metascore
    • 80 Critic Score
    It's got hooks and noise, songs to dance to and songs for fighting. The lineup change isn't the cause of this, though; instead, it's just further proof that Moor, Bornefeld, and Hessels were just as important and powerful as Sok in the band's mixture.
    • 69 Metascore
    • 80 Critic Score
    This new record is nothing surprising. It's everything that you'd expect. Right out of the gate, the message is clear: It is who it is, giving us a band, and an album, full of confidence and bruises. Yet by just being who it is, the music works, and, rightfully so, doesn't need to prove anything to anyone.
    • 77 Metascore
    • 80 Critic Score
    It's a striking snapshot of a band on top of their ever-evolving game, with a fair amount of surprises thrown in for good measure.
    • 79 Metascore
    • 80 Critic Score
    Broken Dreams Club may only be an EP, but if it's any indication of the future of the band, then Girls will sophomore soar, rather than slump.
    • 70 Metascore
    • 80 Critic Score
    These songs are rarely exciting in their movement and few listeners will hear the album as more than just a good debut, but like The Velvet Underground and The Smiths, some styles never go out of style.
    • 72 Metascore
    • 80 Critic Score
    The music is second to none on this album, truly, and is only made more potent with wildly imaginative lyricism.
    • 80 Metascore
    • 80 Critic Score
    Okay, so how do they still fare? With The King of Limbs, reasonably well.