Delusions of Adequacy's Scores

  • Music
For 1,364 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 4.3 points higher than other critics. (0-100 point scale)
Average Music review score: 76
Highest review score: 100 The Stage Names
Lowest review score: 10 The Raven
Score distribution:
1364 music reviews
    • 62 Metascore
    • 60 Critic Score
    Lament after lament, they start to all blend together, and all of Thomas's considerable skill as a singer, musician, and composer can't seem to create any really arresting moments, just a lot of pretty songs.
    • 71 Metascore
    • 60 Critic Score
    Their sound and influences seem to jump out all over the place, but regardless, it is entertaining.
    • 71 Metascore
    • 60 Critic Score
    These initial songs are noteworthy by any measure; the remainder of the album, then, is a bit of a let-down, especially on first listen.
    • 74 Metascore
    • 60 Critic Score
    When not overdone, the playing and singing are excellent, and when they want to, the Dresden Dolls can pen a mighty fine tune as well.
    • 77 Metascore
    • 60 Critic Score
    A solid yet underachieving return.
    • 65 Metascore
    • 60 Critic Score
    While Polysics have certainly come into the peak of their sound with Now is the Time, the mindless intensity of the album can be a tad overwhelming.
    • 75 Metascore
    • 60 Critic Score
    Mo’ Mega starts off strong... But from [the middle] on out the songs lose focus.
    • 70 Metascore
    • 60 Critic Score
    If each track is taken on its own merits, it's apparent that these girls have real talent and there is some creative indie rock here.
    • 76 Metascore
    • 60 Critic Score
    Ultimately, The Avalanche lacks the lasting impact of Illinois, as its songs don’t quite hold the same sense of gravitas, economy, and focus.
    • 76 Metascore
    • 60 Critic Score
    Guster finally feels like a full band and not some cutesy sideshow act.
    • 73 Metascore
    • 60 Critic Score
    The unashamedly wilful reductionism of Brightblack Morning Light will either engross or alienate listeners, depending wholly on instinctive preferences.
    • 61 Metascore
    • 60 Critic Score
    The Dave Grohl production is the best the band has ever had, and the disc absolutely catches fire in a few places, but there’s still a nagging doubt about Rye Coalition.
    • 81 Metascore
    • 60 Critic Score
    It never really builds steam until the end, when it is almost too late.
    • 74 Metascore
    • 60 Critic Score
    It’s obvious Adamson possesses some serious musical vision, but Stranger on the Sofa takes so many musical missteps and is so laughable lyrically, I have trouble recommending it.
    • 73 Metascore
    • 60 Critic Score
    Noir... writes some really genuine, cheery, memorable songs, but it’s just too much to digest on one record.
    • 81 Metascore
    • 60 Critic Score
    I admire the band's unorthodox approach to its music and its combination of disparate rock and non-rock elements.... That said, I will probably never be able to listen to this entire album in a single sitting.
    • 62 Metascore
    • 60 Critic Score
    [Its] strongest songs more than compensate for the few lapses in songwriting found elsewhere.
    • 67 Metascore
    • 60 Critic Score
    Nightcrawler stretches Yorn’s limits as an artist and crosses the line in a few places.
    • 73 Metascore
    • 60 Critic Score
    With its restructured band lineup and multiple producers/locations, Fading Trails is unavoidably a somewhat dispirited and disjointed affair.
    • 79 Metascore
    • 60 Critic Score
    So while the subdued vocal harmonies and acoustic folk influences of 70s pop bands Chicago and America can be heard, there is enough intricately layered dream-pop floating around the fleshed-out orchestrations to keep indie-rock fans contented.
    • 60 Metascore
    • 60 Critic Score
    Upon first listen, some of Calamity, though fun, sounds like partial ideas rather than full-fledged songs. Some tracks never recover from this symptom after a dozen spins; some do.
    • 77 Metascore
    • 60 Critic Score
    Jesse Sykes and company have fashioned an alternative country-rock album that is both decent and reflective.
    • 76 Metascore
    • 60 Critic Score
    Strangelet may not be Grant-Lee Phillips’ most stirring collection of songs, but it’s certainly no catastrophe.
    • 74 Metascore
    • 60 Critic Score
    It's not that so many of these disparate sections sound bad--on the contrary, they're generally quite listenable and often feel like excellent mini-songs--but that they seem to willfully distract from a far more worthwhile mantle that Akron/Family are more than capable of taking up.
    • 76 Metascore
    • 60 Critic Score
    A collection that’s muddled but peppered with gems.
    • 72 Metascore
    • 60 Critic Score
    Load Blown, superficially, is more of the same; sample some 30 second clips online or in your local record store and it's believable that this is a continuation of what they've been doing the past few albums. The entirety, however, exhibits otherwise, and isn't nearly as fulfilling.
    • 70 Metascore
    • 60 Critic Score
    Evangelicals certainly have the potential to push through and make amazing music--it’s just too much hit and miss here.
    • 76 Metascore
    • 60 Critic Score
    There is just too much hit and miss on this album.
    • 80 Metascore
    • 60 Critic Score
    Street Horrrsing is a solid if still flawed album full of enough cool moments to satisfy anyone who might be interested in checking it out.
    • 67 Metascore
    • 60 Critic Score
    These songs sound more like parts of songs that have been extracted from something bigger and more fully realized.