Consequence's Scores

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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:
  1. Positive: 2,753 out of 4039
  2. Mixed: 1,215 out of 4039
  3. Negative: 71 out of 4039
4039 music reviews
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    • 60 Metascore
    • 20 Critic Score
    Living Things
    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
    Pink Friday: Roman Reloaded
    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
    Six Cups of Rebel
    [A] superficial lack of organization and purpose.
    • 60 Metascore
    • 20 Critic Score
    Some Nights
    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
    Smoke + Mirrors
    The problem lies in their vision, and the fact that it’s either too narrow or too cynical to take seriously.
    • 60 Metascore
    • 33 Critic Score
    Satellite Flight: The Journey to Mother Moon
    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
    This Means War
    A deluge of whining that's lyrically incomprehensible and becomes sonically dull after one song.
    • 59 Metascore
    • 33 Critic Score
    The Beautiful & Damned
    There’s no interruption, no welcome silence between discs one and discs two. No, just 20 songs, a brutal slog of stacks and condoms and stacks and condoms and occasionally a disembodied ass without any other parts of a woman sighted.
    • 59 Metascore
    • 33 Critic Score
    Matter
    The world Grobler crafts on Matter isn’t colored with the iridescent shades of blue from his early career; it is now a palate so bright and garish that it hurts the eyes.
    • 59 Metascore
    • 33 Critic Score
    Sweet Disarray
    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
    Overlook
    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
    The Vision
    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.
    • 58 Metascore
    • 33 Critic Score
    Supermodel
    Equally appropriately, with increased attention comes increased expectations and increased scrutiny, neither of which are met by this sophomore release.
    • 57 Metascore
    • 30 Critic Score
    Unexpected Victory
    Victory isn't going to blow your mind by any means, but it's the first time in a long time a Wu-Tang brother has stumbled.
    • 57 Metascore
    • 25 Critic Score
    No. 6 Collaborations Project
    On this record, he’s taking a stab at, well, every genre. It doesn’t pay off, though, because this effort results in a sense of emptiness, an abyss of authenticity or real feeling. And that’s the problem: Despite writing “emotional” ballads for a huge part of his career, none of us really have any idea who Ed Sheeran is.
    • 57 Metascore
    • 30 Critic Score
    North
    It's unclear what the band has been doing during its lengthy hiatus (their last full-length was released in 2002), but keeping up with current music trends was evidently not on the to-do list.
    • 56 Metascore
    • 25 Critic Score
    Montage Of Heck: The Home Recordings
    Vinyl is not a good format for Montage of Heck, an album that requires a fair amount of skipping around just to qualify as tolerable. I’m using the word “album” loosely here, because this one fails as an album in almost every conceivable way, jettisoning any sense of unity or context in favor of positioning itself as an aural complement to Morgen’s documentary.
    • 56 Metascore
    • 33 Critic Score
    Dancing at the Blue Lagoon
    Rather than braving the road less traveled, Yudin doubles down on his replication of trite indie rock tropes.
    • 56 Metascore
    • 25 Critic Score
    Fitz and the Tantrums
    Fitz and the Tantrums is an album that feels, by some bizarre paradox, like both a product of contemporary market forces and a depressing relic of an era of the music industry best forgotten.
    • 55 Metascore
    • 30 Critic Score
    Purple Naked Ladies
    When you boil it down, Purple Naked Ladies' biggest fault is that it's generic.
    • 55 Metascore
    • 20 Critic Score
    Medicine
    Despite the occasional glimpse of colorful ingenuity, Medicine is an utterly sour experience.
    • 55 Metascore
    • 30 Critic Score
    Based on a T.R.U. Story
    The album is at its best when guests take the microphone and falls short nearly everywhere else.
    • 55 Metascore
    • 33 Critic Score
    Hold My Home
    Unfortunately, Hold My Home is not another baby step in the right direction, but rather a collection of slack-jawed tunes surrounding one or two borderline gems.
    • 55 Metascore
    • 25 Critic Score
    Immortalized
    With Immortalized, Disturbed don’t even try.
    • 54 Metascore
    • 33 Critic Score
    Déjà-Vu
    Full of internal references to diamonds, fires, love, music, and seizing the moment whenever possible, Deja Vu’s lyrics play like pop music Mad Libs. When they’re not bland, some verge on violently tone-deaf.
    • 54 Metascore
    • 33 Critic Score
    No Fixed Address
    Though only 11 tracks long, No Fixed Address feels rushed and half-hearted.
    • 53 Metascore
    • 0 Critic Score
    Jesus Is King
    Jesus Is King is impersonal, repetitive, boring, and somehow too long at just 27 minutes. Some albums grow deeper with subsequent listens; Jesus Is King shrinks.
    • 53 Metascore
    • 20 Critic Score
    Fishin' for Woos
    Fishin' For Woos, the surprising 11th studio album from the band, lacks just about everything a record needs to be taken seriously.
    • 53 Metascore
    • 30 Critic Score
    POP ETC
    Rather than bursting forth with something new and unique, they wind up rehashing stale sounds and leaving the listener with an entirely unmemorable experience.
    • 52 Metascore
    • 30 Critic Score
    Matthew Morrison
    Morrison has a talented voice, but you might as well stick to Glee to hear it.
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