Delusions of Adequacy's Scores

  • Music
For 1,333 reviews, this publication has graded:
  • 69% higher than the average critic
  • 3% same as the average critic
  • 28% lower than the average critic
On average, this publication grades 4.4 points higher than other critics. (0-100 point scale)
Average Music review score: 76
Highest review score: 100 Burst Apart
Lowest review score: 10 Zeitgeist
Score distribution:
1,333 music reviews
    • 62 Metascore
    • 50 Critic Score
    The album feels like a grab-bag of the band’s process, but not a cohesive expression of their craft.
    • 71 Metascore
    • 50 Critic Score
    Overall then, Whatever, My Love is a mixed affair. Die-hard lovers of Become What You Are will have few real complaints but might perhaps overdose a touch on déjà vu. For the less pre-devoted, a cherry-picked yet economically-unviable EP selection from the album might have served this reunion better artistically.
    • 62 Metascore
    • 40 Critic Score
    Despite the band’s annoying lyrics, their beats can be catchy and they have a kick-ass bass player.
    • 62 Metascore
    • 40 Critic Score
    The Thrills still have more musical verve than many other second-album victims, but too much of this album seems as if The Thrills have wearied of their own sunny musical dispositions.
    • 70 Metascore
    • 40 Critic Score
    “Something Hyper” and “Xian Undertaker” are exceptional and worth hearing. However, the rest of the album provides very little payoff.
    • 70 Metascore
    • 40 Critic Score
    Unfortunately one great number can't save the whole act.
    • 74 Metascore
    • 40 Critic Score
    There are some genuinely good songs on this album. But good bands make music that their listeners don't have to really try to enjoy.
    • 72 Metascore
    • 40 Critic Score
    Horses in the Sky has some melodic, attractive moments, though these are drowned by yelps and off-key vocals that grate and stain the whole work.
    • 85 Metascore
    • 40 Critic Score
    Minus the instrumentals (eight), tracks featuring guest stars (three), and songs whose only redeeming quality is their cool title (at least five, including "Son of a Bitch," "I’m Going to Stop Pretending I Didn’t Break Your Heart," and "Whatever Happened to Soy Bomb"), you’re really only left with a handful of bonafide Eels tunes.
    • 68 Metascore
    • 40 Critic Score
    Whilst Songs and Other Things may still attract loyal aficionados of Verlaine’s idiosyncratic solo work, it’s certainly unlikely to win over any sceptics.
    • 81 Metascore
    • 40 Critic Score
    Yeah, they're good at what they do, but what they do is just not that palatable.
    • 70 Metascore
    • 40 Critic Score
    Alas, it feels like In the Absence of Truth finds the band both spinning its wheels and running out of ideas.
    • 66 Metascore
    • 40 Critic Score
    The indulgences and overreaching take away from the really good songs.
    • 52 Metascore
    • 40 Critic Score
    Even the better tracks fall a little flat.
    • 66 Metascore
    • 40 Critic Score
    When the band operates under more traditional songwriting styles they can be quite catchy, but the more wandering, abstract moments can sometimes wander a little too far into non-structured noise.
    • 76 Metascore
    • 40 Critic Score
    Arthur & Yu's inconsistently brewed blend of neo-psychedelic indie-folk is definitely an acquired taste and the home-recorded, lo-fi production along with uninspired songwriting renders In Camera incapable of being a worthwhile investment of your listening time.
    • 72 Metascore
    • 40 Critic Score
    Lo-fi recording and lackluster production force the songs to rely on the comforting characteristics of the understated indie-twee-folk, of which there are too little to make it real appealing.
    • 77 Metascore
    • 40 Critic Score
    A shock in the uttermost worst way because Wale has suffered from the over-production, guest-crammed, lack-of-ideas style that usually follows with a major label release.
    • 70 Metascore
    • 40 Critic Score
    Based on the simple songwriting and the nauseating lyrical content, This Addiction is sad, and to the die-hard Alkaline Trio fans such as myself, it will greatly disappoint.
    • 59 Metascore
    • 40 Critic Score
    The songs here seldom rise above the level of being really cute.
    • 74 Metascore
    • 40 Critic Score
    Two
    It is both a timid musical experiment and a relatively directionless one at that.
    • 57 Metascore
    • 30 Critic Score
    Contrary to what its title might imply, there’s really not a whole lotta "new" goin’ on here.
    • 82 Metascore
    • 30 Critic Score
    Unfortunately, the mere manufacture of unique sounds isn’t enough to rescue them on La Forêt.
    • 59 Metascore
    • 30 Critic Score
    It's unconvincing and bland.
    • 73 Metascore
    • 30 Critic Score
    Cansei de Ser Sexy is just so acutely gaudy and trashy that, despite an abundance of spunk and sneer, it comes off as disaffected and impossibly irritating.
    • 55 Metascore
    • 30 Critic Score
    The lack of complexity, tension, and propulsion in most of these songs is a big disappointment because the soundscapes are not grand and glorious enough to overcome the simplistic musical lines and repetitive nature of the lyrics.
    • 76 Metascore
    • 30 Critic Score
    For all its aural pleasantries, it seems bored, lethargic, strapped, bounded and paralyzed by mysteriously viscous elements.
    • 65 Metascore
    • 30 Critic Score
    The group's sound is, at times, difficult to simply listen to, so it comes as no surprise that expanding upon it in such a drastic way would produce several miscues.
    • 70 Metascore
    • 30 Critic Score
    A bland alt-pop stew that meanders aimlessly.
    • 68 Metascore
    • 30 Critic Score
    Once the songs on Lion the Girl are over, they are as difficult to remember as those wisps of dream that dissolve upon waking.