Delusions of Adequacy's Scores

  • Music
For 1,311 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 Stay Positive
Lowest review score: 10 Scab Dates
Score distribution:
1,311 music reviews
    • 66 Metascore
    • 60 Critic Score
    Four long players into their career, you can't help but wonder if Interpol is just trying too hard to recapture some of that Turn On the Bright Lights magic. Either that, or the creative juices have been stifled by a rough turn of events.
    • 61 Metascore
    • 60 Critic Score
    7th Symphony feels like an album that's 60% true artistic vision and 40% simply borrowed from the mainstream to fill out the track listing. If Apocalyptica can craft songwriting that's unique, mature and deep, they should include it on the next album. If not, they should just stick to the instrumentals.
    • 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.
    • 76 Metascore
    • 60 Critic Score
    While it feels great to have some undiluted Avey Tare material, he seems a little creatively restless here.
    • 79 Metascore
    • 60 Critic Score
    It lacks the consistency and unique feel that the original had in abundance, and lacks the quality hooks that defined his debut.
    • 73 Metascore
    • 60 Critic Score
    Picking through Blurry Blue Mountain in stages, there is evidently a decent fistful of individually strong moments but taken as a whole its meandering, undemonstrative nature does make it feel like a somewhat makeweight collection; one that will appeal to few people beyond the existing Giant Howe fanbase.
    • 84 Metascore
    • 60 Critic Score
    Kaputt is filled with light, sprightly textures, all pleasant and groovy, but the album still seems to lumber along with breezy but basic sequencer rhythms, indistinct melodies, and sax blowing similarly all the way through.
    • 71 Metascore
    • 60 Critic Score
    Bardo Pond is not necessarily Avant-garde, but neither is it easy listening. It does however, defy categorization and perhaps with a little less unguided frenzy and a little more tempered structure would allow this reviewer to recommend it.
    • 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.
    • 66 Metascore
    • 60 Critic Score
    There is a solid amount of quirkiness to realize and I Was A King surely have a knack for turning out strong songs but maybe next time a 'less equals more' approach would be more fitting.
    • 77 Metascore
    • 60 Critic Score
    Ultimately, the hushed tones of the contemplative indie-twee The Caribbean weave on Discontinued Perfume is moderately pleasing yet unspectacular.
    • 66 Metascore
    • 60 Critic Score
    Each track is filled with indelible melodies and hooks sure to have you keeping time with your leg or tapping your toes. But with music like this, singing along is the ultimate litmus test, and unfortunately the non-descriptness of the vocals leaves this album lacking a bit of personality and memorability.
    • 70 Metascore
    • 60 Critic Score
    Mountains had found a way to work in an area which was unexplored and undefined, successfully fashioning their own esthetic. This new direction is taking Mountains away from that specialness and closer to the average.
    • 69 Metascore
    • 60 Critic Score
    With a few shining moments, the band seems like they've given up. Rather than pine over an album full of memorable hits, Damnesia falls short in many ways.
    • 79 Metascore
    • 60 Critic Score
    Our Blood doesn't leave me wanting more, it doesn't leave me drooling over another listen, and it sure doesn't leave me interested in more of Richard Buckner's work. But on the same measure, it doesn't leave me sick or angry.
    • 72 Metascore
    • 60 Critic Score
    Still Living is undoubtedly a clear step in the right direction for this Sacramento trio displaying exponential growth while maintaining their penchant for infectious rock n' roll grooves.
    • 75 Metascore
    • 60 Critic Score
    It's this robust fervor and subject matter that fire up and lift up many of the songs on Ceremonials, but the constant exhortation comes at a price. Listener fatigue sets in as the relentless, up-tempo pace and sharply exclamatory vocal tone overwhelms over the course of the album.
    • 71 Metascore
    • 60 Critic Score
    Feel the Sound is such a consistent, and consistently smooth, pop album, that it might put you to sleep, or at least a musically-induced coma.
    • 62 Metascore
    • 60 Critic Score
    An unquestionable oblique listen by mainstream standards, but compared to Of Montreal's previous offerings, Paralytic Stalks demonstrates an intimacy and immediacy which Barnes would do well to repeat.
    • 68 Metascore
    • 60 Critic Score
    It's hard not to listen to this album and to think that they've mined this territory already in 69 Love Songs.
    • 77 Metascore
    • 60 Critic Score
    This is an unwieldy yet infectious compendium that will satisfy those who need it most.
    • 74 Metascore
    • 60 Critic Score
    This is a solid, sonically beautiful album.... [Yet] the problem with her quicker stuff is that, while pretty, it tends to sound all the same; you end up desperate for the chorus, so that you can tell one song from another.
    • 63 Metascore
    • 60 Critic Score
    Ultimately, the peaks and troughs of Grinderman 2 RMX come from magnifying both the good and the so-so qualities of the original source material and from finding the most imaginative or laziest ways to refashion them.
    • 66 Metascore
    • 60 Critic Score
    While there's certainly something to be said for BestCoast's paeans to the utopian side of life near the Pacific, the subtle shifts in Cosentino's songwriting are best experienced when the rays of sunshine are muted.
    • 74 Metascore
    • 60 Critic Score
    Though true that the album lacks the fervent surge of nearly every other Sigur Rós record, it's far from a snoozer. The conspicuous beauty and flummoxing eccentricity of the past haven't gone anywhere – they've just had their edges softened.
    • 87 Metascore
    • 60 Critic Score
    The final impression The Seer left me with is that of a sprawling, lacking in cohesion and over indulgent album that fails as often as it succeeds.
    • 70 Metascore
    • 60 Critic Score
    The North continues to show off their skill and while nothing earth-shattering will be found here, it's something to fully bask in.
    • 76 Metascore
    • 60 Critic Score
    Come Home to Mama is lyrically stiff on top of instrumental complexity. The lyrics need to be pulled way back. What does work are the opening beats and rhythms awash in a mix of sonic, ambient environments.
    • 68 Metascore
    • 60 Critic Score
    It’s a multi-layered album constantly shifting in mood and sound offering the listener much to explore.... The band struggle, however, to distinguish themselves from their influences and constantly fall under the shadow of Can, Pink Floyd and The Flaming Lips.
    • 71 Metascore
    • 60 Critic Score
    Tookah is a frustrating album because there are a couple examples of something fantastic happening in Torrini’s musical mind but it doesn’t quite deliver in the end.