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
    • 25 Critic Score
    Government Plates
    The focus is less on total mayhem and more on creating droning dystopian soundscapes that MC Ride might occasionally hop on to yell over.
    • 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.
    • 74 Metascore
    • 25 Critic Score
    Teeth Dreams
    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.
    • 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.
    • 72 Metascore
    • 30 Critic Score
    BlackenedWhite
    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
    Information Retrieved
    All Information Retrieved provides is leaking creative inertia.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 70 Metascore
    • 30 Critic Score
    Giant Orange
    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
    Are You Falling in Love?
    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.
    • 68 Metascore
    • 25 Critic Score
    We Are Undone
    We Are Undone, masters the sinking feeling of sharing a sweaty car ride or claustrophobic interrogation room with the bad cop/existential mindfuck cop team of Marty Hart and Rust Cohle.
    • 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.
    • 68 Metascore
    • 30 Critic Score
    Dogs Eating Dogs [EP]
    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.
    • 67 Metascore
    • 25 Critic Score
    High Life
    You can applaud them for chasing a creative high, but from two artists of their caliber, listeners should expect something better than High Life.
    • 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.
    • 66 Metascore
    • 30 Critic Score
    Anarchy, My Dear
    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
    Angel Guts: Red Classroom
    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
    Talk a Good Game
    ["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
    Nina
    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.
    • 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.
    • 64 Metascore
    • 30 Critic Score
    Because the Internet
    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?
    • 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.
    • 62 Metascore
    • 20 Critic Score
    Kids in the Street
    Kids in the Street is uninspired, '80s-laced material.
    • 61 Metascore
    • 30 Critic Score
    Boys and Diamonds
    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
    • 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.
    • 61 Metascore
    • 25 Critic Score
    Donker Mag
    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
    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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