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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    • 75 Metascore
    • 33 Critic Score
    More Rain
    The wheels on the record don’t just tremble and squeak--they completely detach. Eight solo albums in, M. Ward’s indie folk wagon finds itself stuck in the mud.
    • 63 Metascore
    • 33 Critic Score
    Purpose
    Skrillex and Diplo successfully serve up twitchy beats ready to incite anything with a pulse, but the sentiment at the album’s core leans toward insufferable.
    • 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
    • 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.
    • 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.
    • 51 Metascore
    • 33 Critic Score
    Ardipithecus
    So much of Ardipithecus is impenetrable, even distancing. The album is a headscratcher, one that shows plenty of promise but also a personality abstruse to the point of mystification.
    • 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.
    • 70 Metascore
    • 33 Critic Score
    The Cautionary Tales of Mark Oliver Everett
    What The Cautionary Tales needs is a prudent pruning. This album struggles to appear deeper than a common puddle.
    • 65 Metascore
    • 33 Critic Score
    Taking One For The Team
    When their punches land, you want to bless these guys for sticking to their guns and not growing up. But the misses are real and painful, and they make Taking One For the Team a far more embarrassing listen than it needed to be.
    • 51 Metascore
    • 33 Critic Score
    We Are Only What We Feel
    We Are Only What We Feel, if you go in expecting very little, can provide some background noise pleasure. But it only lights up for three seconds at a time. And then it’s trash.
    • 44 Metascore
    • 33 Critic Score
    Speedin' Bullet 2 Heaven
    As it stands, this album feels like a few good ideas mired in a mess of half-formed sketches, rough recordings, and simple cliches.
    • 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.
    • 71 Metascore
    • 33 Critic Score
    reputation
    With Reputation, Swift seemingly has the idea that bigger, wider, and louder is necessarily better, but the dopamine rush that modern pop music can so reliably produce never arrives.
    • 54 Metascore
    • 33 Critic Score
    No Fixed Address
    Though only 11 tracks long, No Fixed Address feels rushed and half-hearted.
    • 46 Metascore
    • 33 Critic Score
    One More Light
    A muddled mess of a record from a band that completely abandoned any sense of identity.
    • 70 Metascore
    • 33 Critic Score
    Kind Heaven
    Farrell’s ambition is an admirable quality he wears on his sleeve, and at times, he showcases an impressive stylistic versatility. However, throughout this album, he takes indiscriminate left turns, and it ultimately makes Kind Heaven a needlessly gratuitous and pretentious mess.
    • 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.
    • 68 Metascore
    • 33 Critic Score
    Twelve Carat Toothache
    Twelve Carat Toothache feel thrown together and incomplete. Post Malone did himself a favor by limiting the run time of the LP, but if he’s championing quality over quantity, the quality has to be more incisive, specific, vulnerable, and holistic.
    • 67 Metascore
    • 33 Critic Score
    Hamburg Demonstrations
    The album falls flat in just about every aspect. It’s not offensively bad, it’s inoffensively boring.
    • 71 Metascore
    • 33 Critic Score
    After the Disco
    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.
    • 72 Metascore
    • 33 Critic Score
    Jungle
    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.
    • 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.
    • 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.
    • 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.
    • 74 Metascore
    • 33 Critic Score
    Shaken Up Versions
    It’s best to approach The Knife’s Shaken-Up Versions with caution, even though the blade has dulled this time around.
    • 61 Metascore
    • 33 Critic Score
    Victorious
    The riffs are certainly bigger and ballsier than those on the past few records, but Stockdale seems to have lost his personal line to the gods of the ’70s and is left settling for the lesser players.
    • 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.
    • 52 Metascore
    • 30 Critic Score
    Matthew Morrison
    Morrison has a talented voice, but you might as well stick to Glee to hear it.
    • 35 Metascore
    • 30 Critic Score
    The Truth Is...
    This CD is worse than a nu-metal reprise, in that it doesn't give true ragers an outlet, but instead facilitates the same false machismo that tribal tats and fake bench-press numbers suggest.
    • 61 Metascore
    • 30 Critic Score
    Moment Bends
    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.
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