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For 1,511 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 3.7 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Untitled
Lowest review score: 10 United Nations of Sound
Score distribution:
  1. Positive: 1,005 out of 1511
  2. Mixed: 449 out of 1511
  3. Negative: 57 out of 1511
1511 music reviews
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    • 62 Metascore
    • 60 Critic Score
    All The Plans
    As is so often the case though all it takes is a fall to flush away fanciful tendencies and with All The Plans they revisit wholesale what it was that made them a draw in the first place (other than sounding a bit like Coldplay).
    • 62 Metascore
    • 40 Critic Score
    3 Words
    Over 11 tracks she fails to pull in a single noteworthy vocal, that's if you can even locate it beneath the waves of effects designed to disguise how very little is actually there.
    • 62 Metascore
    • 60 Critic Score
    Monsoon
    Ultimately it makes you feel the loss of Pavement all the more.
    • 62 Metascore
    • 60 Critic Score
    Pieces In A Modern Style
    Sometimes it works - notably with Gorecki's and Ravel's work - but it frequently misses the mark, with his reinterpretation of Handel's 'Xerxes' sounding something like incidental muzak from a low-budget US soap.
    • 62 Metascore
    • 60 Critic Score
    Let's Bottle Bohemia
    By third song, "Faded Beauty Queens", the recipe is already stalling, and the harmonies begin to sound flimsy.
    • 62 Metascore
    • 60 Critic Score
    Auf Der Maur
    It's not, in the final reckoning, a terribly important and wildly impressive record.
    • 62 Metascore
    • 60 Critic Score
    Bittersweet World
    She's got an album which for all its sing-along moments is neither catchy nor extreme enough to be exceptional.
    • 62 Metascore
    • 60 Critic Score
    The Gift
    There are a couple of songs so overfamiliar that Boyle can do little to revitalise them, including a predictable trudge through 'Auld Lang Syne' and the saccharine overdose of 'Away In A Manger', but Boyle herself once again emerges from trashy circumstances with class intact.
    • 62 Metascore
    • 60 Critic Score
    Smoke & Mirrors
    A short, sharp blast of snotty fun that suggests the party is not over yet.
    • 62 Metascore
    • 50 Critic Score
    Body Language
    There is, however, nothing that remotely touches the pop genius of 'Can't Get You Out Of My Head' and, by the halfway mark, the album's sagging badly.
    • 62 Metascore
    • 40 Critic Score
    I Am...Sasha Fierce
    It's more a rescinded lesson in demographics, with disc one seemingly aimed at airbrushing out the last vestiges of Knowles' credibility in favour of a procession of lame pop ballads in a Shakira or even Shania Twain-ish mould.
    • 62 Metascore
    • 40 Critic Score
    Shine On
    When you don't have the fun of playing spot-the-steal, all you're left with are wishy washy pastiches and a sense of growing fatigue.
    • 62 Metascore
    • 50 Critic Score
    Untitled
    Throughout most of Untitled, Kelly seems to have taken the worst aspects of "Trapped In The Closet"--it's over-the-head relentless melodies and lyrics--and decided that they'll work in a song until the repetition instead relegates it to wallpaper.
    • 62 Metascore
    • 40 Critic Score
    Fragments of Freedom
    Rarely lifting itself above mere mediocrity the album is no doubt destined to provide background music at thirty-something dinner parties and sedate wine bars.
    • 62 Metascore
    • 40 Critic Score
    Happiness Ltd.
    Their third, Happiness Ltd, is a sulky teenager, and about as attractive and engaging as that suggests.
    • 62 Metascore
    • 40 Critic Score
    Before I Self Destruct
    Before I Self Destruct needs as many bells and whistles as it can muster, because the music isn't going to cut it on its own.
    • 62 Metascore
    • 40 Critic Score
    R.O.O.T.S
    R.O.O.T.S. is so crushingly flat that it should waft between the cracks unnoticed.
    • 62 Metascore
    • 60 Critic Score
    The Sun And The Moon
    The Sun And The Moon", The Bravery's down-to-earth approach ought win them a second chance.
    • 62 Metascore
    • 60 Critic Score
    Hey People!
    There's something about the determinedly primal recording techniques and clunky, 'we-just-learnt-this-today!' instrumentation that doesn't ring true.
    • 61 Metascore
    • 60 Critic Score
    Salival
    Beginning with the juddering monstrosity that is the live version of 'Third Eye', there is no doubt that the band want to be judged as an epic attraction. It's unfortunate that they've chosen to lengthen some of the tracks to the point of monotony.
    • 61 Metascore
    • 60 Critic Score
    People Are Expensive
    They've turned into Morcheeba. A blunt appraisal, yes, but them's the facts.
    • 61 Metascore
    • 50 Critic Score
    Black & Blue
    Unfortunately, over a third of the songs on this album are ballads, and most of them are fillers at that.
    • 61 Metascore
    • 60 Critic Score
    Doo-Wops and Hooligans
    Aside from the odd pervy foray however, Doo-Wops & Hooligans is a fairly impressive pop record; packed full of guaranteed arena fillers, it's an album that's literally born to be big.
    • 61 Metascore
    • 50 Critic Score
    18
    The follow-up to 'Play' is, essentially, 'Re-Play', a cynical rehash of the melancholic-yet-strangely-uplifting schtick which sold ten million albums and soundtracked every single advert of the last three years.
    • 61 Metascore
    • 60 Critic Score
    Blackout
    Blackout is business as usual. Courting publicity more shamelessly than that infamous kiss with Madonna, Britney writhes, moans and generally gives good pillow talk for the duration of an album where crunk, glitches, squeaks and clubbed-up beats dominate.
    • 61 Metascore
    • 40 Critic Score
    Yours Truly, Angry Mob
    The melodies feel functional at best, surprisingly charmless affairs that push all the right buttons with little passion or joy, while the lyrics are that depressing rock cliche: woe-is-me deliberations on the pressures of fame.
    • 61 Metascore
    • 40 Critic Score
    Polly Scattergood
    It's a well-made, well-polished piece of material. But she ruins it by painting a wacky overcoat over something that was probably fine in the first place.
    • 61 Metascore
    • 40 Critic Score
    Futuristically Speaking...Never Be Afraid
    Overlong and oversexed, Futuristically Speaking... stumbles where you will it to stride; something surprisingly staid and mediocre from extraordinary circumstances.
    • 61 Metascore
    • 40 Critic Score
    Brass Knuckles
    Airplay or not, however, he's also sounding seriously dated.
    • 61 Metascore
    • 50 Critic Score
    Walking On A Dream
    Much of the album bathes radio-friendly funk-rock in a kind of Balearic after-glow--it conjures that feeling of bittersweet triumph many will have felt as last night becomes this morning, the conquering of a dark that is now needed if sleep and recovery from such an act is to be possible.
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