CultureDose.net's Scores

  • Music
For 68 reviews, this publication has graded:
  • 44% higher than the average critic
  • 0% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 3 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Permission To Land
Lowest review score: 10 Everybody Hertz [EP]
Score distribution:
  1. Positive: 43 out of 68
  2. Negative: 3 out of 68
68 music reviews
    • 66 Metascore
    • 100 Critic Score
    The tracks included in Dust are thoughtful, introspective canticles that are best enjoyed under the fog of your favorite incense and the glow of a candle or two.
    • 86 Metascore
    • 100 Critic Score
    This is a magnificent album.
    • 84 Metascore
    • 100 Critic Score
    No!
    The whole album is as musically stirring and creative as anything TMBG have ever done, and that’s saying a lot.
    • 60 Metascore
    • 100 Critic Score
    Black Letter Days is a truly special work, and should be treated as such. Don't let the best record of the year go overlooked.
    • 79 Metascore
    • 100 Critic Score
    There's no way you won't be listening to this CD on repeat for anything less than two weeks straight.
    • 78 Metascore
    • 100 Critic Score
    Having covered so much territory, the album leaves you completely fulfilled--like any nightclub act--but ready to do it all over again the next night.
    • 84 Metascore
    • 90 Critic Score
    “Weeds,” an excellent tune which compares the English working class to this type of plants, is only one of the various epic, melodramatic tunes in the key of Scott Walker (who produced the record) present here that use elements of nature to symbolise aspects of modern society and the human condition itself.
    • 82 Metascore
    • 90 Critic Score
    A summery pop journey, complete with mellow melodies and gentle guitars.
    • 70 Metascore
    • 90 Critic Score
    Burn and Shiver shows Azure Ray maturing and improving the quality of their craft while settling into their familiar, pleasant formula.
    • 84 Metascore
    • 90 Critic Score
    If the young, brooding Waits had done this score it would have been too much--too miserable--but our older, wiser Waits possesses the perfect combination of cynicism and idealism to pull it off.
    • 87 Metascore
    • 90 Critic Score
    Rarely has a record balanced such quality lyrics with such pretty music; it is also a rare occasion when a record can be both deeply sad and uplifting at the same time.
    • 90 Metascore
    • 90 Critic Score
    An album whose scope, diversity, wit and heart make it instantly the best album of 2002.
    • 75 Metascore
    • 90 Critic Score
    With this album, the deejay only adds to his rep and further solidifies his place amongst Hip-Hop's elite producers and turntablists.
    • 70 Metascore
    • 80 Critic Score
    What saves her from getting HACK stamped across her forehead is how she chooses to approach the material, meaning she's turned down the notch a couple decibels for the duration of the trip.
    • 79 Metascore
    • 80 Critic Score
    Sea Change is different (and, in a way, less interesting) than everything Beck has previously done, but he has a rare gift that he shares with precious few artists, Prince and Bob Dylan amongst them: no matter what he does, Beck will always be interesting.
    • 86 Metascore
    • 80 Critic Score
    For people friendly to western pop traditions, there is little or nothing in the music to dislike, and lots to sing along with.
    • 82 Metascore
    • 80 Critic Score
    For the first time in their careers, Sonic Youth are willing to stand for something and give it to you, no frills. No more hiding behind black shades and pretending you're Lou Reed, no more “let's try to make the scariest noises possible from our guitars” sessions, no more poses. Sonic Youth have grown up.
    • 89 Metascore
    • 80 Critic Score
    The Notwist are, for me, the band New Order never had a good enough singer, or a creative enough programmer, to be.
    • 79 Metascore
    • 80 Critic Score
    Somewhere within the radio-friendly, xylophone-banging tracks, Badly Drawn Boy finds space for artistic experimentation and growth.
    • 76 Metascore
    • 80 Critic Score
    It’s a confectionary delight, from start to finish: sometimes intelligent, sometimes emotional, always likeable.
    • 71 Metascore
    • 80 Critic Score
    With one album, Alicia Keys jumps up from the most overrated R&B artist since Michael Jackson to the best young talent R&B has seen in a very long time.
    • 90 Metascore
    • 80 Critic Score
    While there is nothing new on Alice, the songs he develops are well-structured, elegant and as bawl-worthy as ever.
    • 62 Metascore
    • 80 Critic Score
    One of the best hard rock albums of 2002.
    • 79 Metascore
    • 80 Critic Score
    With The Sea and Cake, the question is never whether the album is good or bad, but whether the album is good or excellent. One Bedroom then is a good album.
    • 50 Metascore
    • 80 Critic Score
    The band continues with a strong electronic feel without compromising the integrity of good, raw musicianship.
    • 92 Metascore
    • 80 Critic Score
    On a level of pure listening enjoyment, Boy In Da Corner isn't quite an Original Pirate Material; but it does succeed in establishing that Dizzee Rascal deserves a place right at the forefront of the UK Urban movement.
    • 76 Metascore
    • 80 Critic Score
    Mount Eerie doesn't work outside of its concept and, to the detriment of the songs, the album is so intensely personal that melody and song structure give way to abstract conceptualism.
    • 65 Metascore
    • 80 Critic Score
    As usual, Public Enemy's lyrics are relevant, intelligent, unyielding, and punctuated with skillfully crafted accompaniment.
    • 80 Metascore
    • 70 Critic Score
    The same studio experimentation that makes much of Ugly Casanova's music interesting also results in a handful of throwaway tracks enough to prevent Sharpen Your Teeth from becoming a wholly cohesive album.
    • 85 Metascore
    • 70 Critic Score
    Even at its worst, Don't Give Up On Me is never anything less than elegant.
    • 72 Metascore
    • 70 Critic Score
    The real problem with Gutterflower is that it doesn't really add anything new to the Goo Goo Dolls repertoire.
    • 77 Metascore
    • 70 Critic Score
    Summer Sun is full of beautiful melodies that fail to excite for the sole reason that, for the already initiated, it seems like old hat.
    • 68 Metascore
    • 70 Critic Score
    Eve-olution isn't revolutionary but the album is strong, definitely her strongest to date.
    • 76 Metascore
    • 70 Critic Score
    Magic & Medicine is hardly a record that will catapult The Coral to the next level; but at the same time, it's also far from being an embarrassment.
    • 72 Metascore
    • 70 Critic Score
    If 2001’s Weezer was a second-rate Blink-182, almost every composition on Maladroit is more strongly developed, whether it is the tight drumming to the point of showboating on the album’s first single, “Dope Nose,” the surprisingly successful intricate guitar work on the crunchy “Take Control,” or the band’s return to form, producing some of the best pop songs since their 1994 debut.
    • 73 Metascore
    • 70 Critic Score
    Nocturama is as slight and as pretty as a walk through the snow on a sunny Winter day.
    • 87 Metascore
    • 70 Critic Score
    Sure it's a stereotype of all the things the South is. At the same time, it is a clearer-eyed view than has been offered before.
    • 70 Metascore
    • 70 Critic Score
    This album is carried by its incredibly poetic lyrics.
    • 84 Metascore
    • 70 Critic Score
    Where The Soft Bulletin was an intricate assessment of rock's potential, Yoshimi Battles the Pink Robots is merely a rough sketch of a new musical direction.
    • 63 Metascore
    • 70 Critic Score
    Not entirely the soul baring effort that one would have expected, nor exactly the breezy Summer album that critics are saying it is, what Sheryl has cooked up here is a highly pleasing stew that is one third smart Pop, one third touching love songs, and one third “look at all my famous friends” posturing.
    • 88 Metascore
    • 70 Critic Score
    Shins fans will find this a solidly enjoyable album.
    • 68 Metascore
    • 70 Critic Score
    Justin Timberlake's solo debut is good.... Was this the same Justin Timberlake from that boy band *NSYNC? Could it be? Better asked, how could this be?
    • 75 Metascore
    • 70 Critic Score
    With each successive album Eminem finds new depth and excitement within the same themes and structures he used way back on The Slim Shady LP, so even if new songs contain earmarks of Eminem classics, they still feel reinvigorated.
    • 74 Metascore
    • 60 Critic Score
    Barricades and Brickwalls paints a broad spectrum of alt.country/ bluegrass/honkytonk music, and that variety is its greatest strength.
    • 73 Metascore
    • 60 Critic Score
    For pleasant, albeit unchallenging pop-tunes which will not offend anyone, but may also put you to sleep, Your Majesty is the way to go.
    • 84 Metascore
    • 60 Critic Score
    Central Reservation ... is ambient too, but not so much in terms of beats as echoey space and unobtrusive production. The focus here is on ballads, sweet and slow, and every string of every strum can be heard.
    • 65 Metascore
    • 60 Critic Score
    It's like you're listening to the same tempo and volume for 52.5 minutes when you really wanted a variety show.
    • 59 Metascore
    • 60 Critic Score
    Even with all the enjoyable tracks, many of the choices SV makes with their production will keep some fans scratching their heads.
    • 71 Metascore
    • 60 Critic Score
    The experimentation of tracks like "Off You" and "Put on a Side" show that Kim Deal and co. aren't concerned with reproducing past success, but also shows that they are entirely capable of producing the same interesting song structures and pop pleasures that we have come to expect.
    • 80 Metascore
    • 60 Critic Score
    Without the emotional resonance of Martin's voice at its most free, Coldplay's brilliantly minimal musical foundation has nothing to support. So it falters.
    • 75 Metascore
    • 60 Critic Score
    In the moments when Shaddix's voice and lyrics don't detract from the band's remarkable bluster, Papa Roach soars.
    • 83 Metascore
    • 60 Critic Score
    Think Tank is an uneven album that only those with a very open mind and a big love for the band will be able to stomach.
    • 65 Metascore
    • 60 Critic Score
    The production on St. Anger is abysmal.
    • 80 Metascore
    • 60 Critic Score
    O
    Lucky for him, he has Lisa Hannigan on board on several tracks in this album--her breathtaking vocals almost manage to make this take of epic heartbreak to the backdrop of Irish lullabies worthwhile. Almost.
    • 68 Metascore
    • 50 Critic Score
    The overwhelming majority of this album is unbelievably annoying dance pop.
    • 60 Metascore
    • 50 Critic Score
    X
    There just isn't enough memorable music here.
    • 54 Metascore
    • 50 Critic Score
    Not everything about Imbruglia’s second album is as bad as most critics would like to make it.
    • 76 Metascore
    • 50 Critic Score
    God Loves Ugly ends up as the worst kind of inconsistent album--inconsistent not because of any lack of knowledge, creativity or heart on the part of the artists, but because they can't decide whether they want to use that knowledge to showcase their own voice or mimic someone else's.
    • 80 Metascore
    • 50 Critic Score
    Untouchables ends up heavy on stadium rock bluster, with precious little of the musical texture and intricacy that made Follow the Leader one of the few transcendent albums of its genre.
    • 61 Metascore
    • 40 Critic Score
    18
    It still wouldn’t come off so badly if Moby took his old sounds and improved them, but he doesn’t.
    • 58 Metascore
    • 40 Critic Score
    I
    The work is unfocused and sounds as if Buffalo Daughter is trying to be novel.
    • 77 Metascore
    • 40 Critic Score
    Frankly, this is total yuppie shit--competent and unobtrusive.
    • 68 Metascore
    • 40 Critic Score
    Most of it is pretty middle-of-the-road female singer-songwriter tripe.
    • 82 Metascore
    • 40 Critic Score
    The Rising is a tiresome battle between the sheer spirit that Bruce and his sidekicks invest in their work and the material itself, which is underwritten and overproduced.
    • 56 Metascore
    • 40 Critic Score
    A new set of hard-driving war cries that aren’t all that different from yesterday’s, but different enough to be entertaining while somewhere short of inspiring.
    • 73 Metascore
    • 30 Critic Score
    Epitomizes everything bad about the already questionable garage rock revival.
    • 68 Metascore
    • 30 Critic Score
    A tremendous waste of time for everyone involved.
    • 50 Metascore
    • 10 Critic Score
    For most of us, this Air remix album is nothing but a painful experience.