Delusions of Adequacy's Scores

  • Music
For 1,314 reviews, this publication has graded:
  • 69% higher than the average critic
  • 2% same as the average critic
  • 29% lower than the average critic
On average, this publication grades 4.5 points higher than other critics. (0-100 point scale)
Average Music review score: 76
Highest review score: 100 You & Me
Lowest review score: 10 Scab Dates
Score distribution:
1,314 music reviews
    • 65 Metascore
    • 80 Critic Score
    Welcome Joy is the perfect, earthy balance of the grittiest and the sweetest splendors that the Pacific has to offer.
    • 65 Metascore
    • 90 Critic Score
    Anyone with a love for substantive indie pop that sounds fresh with each listen would be erring by not picking up this affecting, gorgeous album.
    • 65 Metascore
    • 70 Critic Score
    The album is quite fun in places, and shows some actual songwriting acumen form Liam Gallagher.
    • 65 Metascore
    • 90 Critic Score
    Everybody Loves a Happy Ending is a polychromatic, sweeping collection of gorgeous guitar-pop gems, a clever and harmonious amusement park filled with fun rides listeners will want to board over and over.
    • 65 Metascore
    • 70 Critic Score
    Taken as a whole package though, R.E.M. Live is a flawed but respectable enough addition to the canon of three men who can still conjure up a bit of magic, albeit in spite of themselves.
    • 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.
    • 64 Metascore
    • 60 Critic Score
    As a live album, Out West is a fair one.
    • 64 Metascore
    • 70 Critic Score
    Whilst Around is hardly groundbreaking stuff – Verlaine’s retro equipment preferences automatically predicate a retro feel – it is a genuinely unforced unfurling of a reclusive talent and a worthy companion piece to Warm and Cool.
    • 64 Metascore
    • 70 Critic Score
    Ultimately this is an engaging pop album with lush sonics, like a guitar-heavy Death Cab album with a less than brilliant singer, which is not a bad thing at all, and should feed the need of fans of alluring, guitar-based indie-rock and keep DCFC fans contented until the release of their new album in May ‘08.
    • 64 Metascore
    • 80 Critic Score
    What strikes me is that past Clem Snide albums had their stronger moments, but also their weaker ones, while Hungry Bird, for all its time in development, is more solid throughout, delivering its 10 pop songs with a consistency that shows the band continuing to develop its sound.
    • 64 Metascore
    • 60 Critic Score
    Despite the overall melange approach being a little uneven, there are some genuine delights to be found within.
    • 64 Metascore
    • 80 Critic Score
    Skin of Evil, out on Soft Abuse Jan. 20, is a breathtaking, mesmerizing record, a lyrical song cycle about love and loss, affection and anger and alienation.
    • 64 Metascore
    • 80 Critic Score
    An intoxicating brand of synth-pop that's slicker than a Gordon Gekko coif.
    • 64 Metascore
    • 60 Critic Score
    Violet Cries, one of the more anticipated debut albums of the year, isn't a let down, but it's a difficult album to get a grasp on.
    • 64 Metascore
    • 60 Critic Score
    If you're an old, die-hard Kings Of Leon fan Come Around Sundown will upset you. Keep what you love about this band close to your heart and ignore this album, you'll thank yourself in the end.
    • 64 Metascore
    • 70 Critic Score
    Inevitably, this strand of the release contains more obstacles for those unable to cope with the bedroom-birthed murkiness of the album as a whole. However, with some fine-tuning this less guitar-centric side of Keel Her could rise more positively to the fore in future.
    • 64 Metascore
    • 60 Critic Score
    Aside from its title track, most of Kings and Queens of the Underground sounds a lot like primetime 80s Idol, untouched by the ravages of time, lifestyle, changes in musical fashions or anything else.
    • 64 Metascore
    • 50 Critic Score
    Is this a "mature" album? Probably. But I can't help thinking that without Nina Persson's beautiful voice, Gravity just wouldn't have garnered a whole lot of attention.
    • 64 Metascore
    • 80 Critic Score
    What I am here to do is to point you in the direction of Take My Breath Away, Boratto’s exceptionally crafted new album.
    • 64 Metascore
    • 60 Critic Score
    All in all, this is pretty good album and it is by no means horrible.
    • 64 Metascore
    • 70 Critic Score
    With those sharp synth lines, and an interesting sense of melody, the Killers have made a good album.
    • 64 Metascore
    • 70 Critic Score
    There's a nagging feeling that Life Coach is a sketchbook instead of an art exhibit, and feels a little insubstantial at times. The album hits more than it misses, though, and makes up for the fact that it doesn't really have too much new to say by trading in an impressive range of styles while managing a moody cohesiveness.
    • 64 Metascore
    • 70 Critic Score
    The fuzzed out riffage and ethereal interludes are in place, but Swoon lacks the diverse textures, clever lyrics, and emotional depth that the Pumpkins honed over a 10 year span. And this is as it should be.
    • 64 Metascore
    • 80 Critic Score
    Chthonic offer up an exceptional album that is worthy of praise and closer inspection.
    • 64 Metascore
    • 60 Critic Score
    Blue Lambency Downward is best played in the background of your day. When it becomes interesting (and it will many times), your ears will perk up and you’ll be impressed. For the slow and boring intervals in between, feel free to focus on something else.
    • 64 Metascore
    • 80 Critic Score
    The fluidity of the music allows for interpretive wiggle room. New Universe sounds like a great, sun-slowed summer album, but I can also see it playing into the feel of other seasons, making for a subdued autumn album or a twinkling winter album.
    • 64 Metascore
    • 80 Critic Score
    Last Light is a compelling expression of compassion, frustration, and love in a variety of forms.
    • 64 Metascore
    • 70 Critic Score
    Where The Messengers Meet might be the best MSHVB can do with their current MO, it's a remarkably compact album of emotionally-swollen, disillusioned folk rock -but you get the feeling that the band might be on the precipice of something much more titanic.
    • 63 Metascore
    • 80 Critic Score
    An original and exquisite album full of playful and energetic indie-rock that, while retaining some of the same qualities as Clap Your Hands Say Yeah, is also a step in a new direction that suits the band fine.
    • 63 Metascore
    • 80 Critic Score
    Emoh is one of the first surprisingly great albums of 2005.