Consequence of Sound's Scores

  • Music
For 2,201 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 Siamese Dream [Deluxe Edition]
Lowest review score: 10 BAYTL
Score distribution:
2,201 music reviews
    • 75 Metascore
    • 25 Critic Score
    The focus is less on total mayhem and more on creating droning dystopian soundscapes that MC Ride might occasionally hop on to yell over.
    • 74 Metascore
    • 25 Critic Score
    From the sloppy production and uninspired arrangements to the fact that Tad Kubler hasn’t written a memorable guitar lead since 2008, Teeth Dreams sounds like the characters in its songs: past its prime and just trying to get by, but with the past creeping back in and not letting anyone forget it.
    • 72 Metascore
    • 30 Critic Score
    The reissue of BlackenedWhite comes as a missed opportunity. Odd Future followers will likely have grabbed the expanded (and notably better) version when it was available free online a few months back; newcomers to the collective's output have better entry points elsewhere in their continuously-growing catalog.
    • 72 Metascore
    • 30 Critic Score
    All Information Retrieved provides is leaking creative inertia.
    • 72 Metascore
    • 33 Critic Score
    Jungle is a polished debut, but there’s no sense that J and T (or whoever is actually singing here) feel any sort of commitment to their lyrics, their arrangements, or anything beyond producing neatly packaged songs that slide them into festival slots.
    • 72 Metascore
    • 33 Critic Score
    The songs, sonically and structurally, don’t sound contemporary at all. At best, they sound like disco by way of these two artists, both of whom have been making similar songs for five, maybe ten years.
    • 70 Metascore
    • 33 Critic Score
    It’s best to approach The Knife’s Shaken-Up Versions with caution, even though the blade has dulled this time around.
    • 70 Metascore
    • 33 Critic Score
    What The Cautionary Tales needs is a prudent pruning. This album struggles to appear deeper than a common puddle.
    • 70 Metascore
    • 30 Critic Score
    An album desperate for texture, flavor, and risks, Giant Orange is the aural equivalent of middle-of-the-road musical tragedy.
    • 69 Metascore
    • 20 Critic Score
    Unfortunately, "Besides You" is the only song really worth mentioning. Everything else is so awash in a wall of buzzing noises, you'd think you were at the World Cup and surrounded by vuvuzelas.
    • 69 Metascore
    • 25 Critic Score
    You can applaud them for chasing a creative high, but from two artists of their caliber, listeners should expect something better than High Life.
    • 68 Metascore
    • 30 Critic Score
    DeLonge's forgettable chord progressions feel like an afterthought to lyrics that try too hard to fit into Blink's more morbid adult persona of late.
    • 66 Metascore
    • 30 Critic Score
    Parts of Anarchy, My Dear feel so unedited that it gets a little embarrassing for the listener, but when Say Anything collects itself, it has something to say.
    • 66 Metascore
    • 16 Critic Score
    The songs that are okay sound derivative; the songs that sound new are oozing messes that rough up everything that’s ever made Xiu Xiu work.
    • 65 Metascore
    • 30 Critic Score
    ["Dirty Laundry" is] so raw and visceral that we finely see her as intended: vulnerable, flawed, and totally real. She tries replicating that authenticity, but there’s only the uber-cliché “I don’t care; we’re over” anthem “Gone” and the album’s superficially enjoyable title track, which Rowland approaches with some intriguing level of nuance.
    • 65 Metascore
    • 30 Critic Score
    Of course, it doesn’t make sense for Stewart to try to stand toe-to-toe with Simone’s vocals, but the close-mic’d, barely there vocal performance offered on Nina is a tragedy for a man who is a talented singer in his own right.
    • 64 Metascore
    • 30 Critic Score
    Rather than provide a solution, or even insight into the Internet reality, Gambino simply adds to the frustrations. The big reveal at the album’s conclusion is that he was (likely) trolling all the trolls, but what about the fans?
    • 62 Metascore
    • 20 Critic Score
    Kids in the Street is uninspired, '80s-laced material.
    • 61 Metascore
    • 30 Critic Score
    Boys and Diamonds ends up being hindered by the the same awkward, mock-ethnic yelps the duo seems to feel the need for on every other song they cut and the empty, tinny nonsense they seem to arrive at all too often as they attempt to craft memorable pop.
    • 61 Metascore
    • 25 Critic Score
    Die Antwoord’s bombastic concerts and larger than life stage personas are not to be missed. However, this wild energy and devil may care attitude yield weaker dividends after being bottled and pasteurized in a studio that appears staffed by a cadre of rejected Saturday Night Live sketch writers.
    • 61 Metascore
    • 30 Critic Score
    It's always admirable when an artist or a band attempts to create a piece of music that differs from what came before. Unfortunately for Architecture in Helsinki, their new work fails as a cohesive whole, salvaged only by two or three songs here and there.
    • 60 Metascore
    • 20 Critic Score
    Breaking down barriers is not the forte of Top 40 rock music, but when you can't tell the difference between a Linkin Park track and something produced by a plebeian confusing dance beats for real drums, something has to give.
    • 60 Metascore
    • 20 Critic Score
    While it's a whopping 19 tracks, half the album is nothing more than bargain-basement pop knockoffs of everyone from Beyoncé to Keri Hilson.
    • 60 Metascore
    • 30 Critic Score
    [A] superficial lack of organization and purpose.
    • 60 Metascore
    • 20 Critic Score
    Skimming the top, fun. gets credit for its positive attitude and pocket full of catchy melodies, but on the whole, Some Nights remains forgettable.
    • 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
    • 30 Critic Score
    A deluge of whining that's lyrically incomprehensible and becomes sonically dull after one song.
    • 59 Metascore
    • 33 Critic Score
    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.
    • 58 Metascore
    • 20 Critic Score
    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
    • 30 Critic Score
    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.