Dot Music's Scores

  • Music
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 3.2 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Funeral
Lowest review score: 10 Twelve Stops And Home
Score distribution:
1511 music reviews
    • 59 Metascore
    • 40 Critic Score
    Encapsulating just how far Sean has come (if you're a Cash Money CEO, that is) Lil' Jon pops up to do his incomprehensible shouty thing, so ruining, for no reason at all, the only remotely catchy thing here.
    • 51 Metascore
    • 40 Critic Score
    'Invincible' is an album almost unbearably mired in schmaltz.
    • 68 Metascore
    • 40 Critic Score
    There's so little substance here, it's difficult to engage with the record or its creator.
    • 58 Metascore
    • 40 Critic Score
    Ultimately, D12 have made the fatal mistake of reducing themselves to the pitch that probably won them their deal: "think horrorcore rap, Gravediggaz-style, mixed up with middle-everything baiting lyrics even more extreme than Eminem." And that's not enough.
    • 63 Metascore
    • 40 Critic Score
    A drab and depressingly familiar proposition.
    • 46 Metascore
    • 40 Critic Score
    An average album over produced, Love? has Lopez throwing everything she's got at relaunching her pop career and coming up shorter than anyone could ever have thought possible.
    • 63 Metascore
    • 40 Critic Score
    His tenuous grasp on reality and good taste slips and he plummets into a tawdry, gratuitous and self-congratulatory flurry of misogyny, expletives and reggae.
    • 62 Metascore
    • 40 Critic Score
    It's more a rescinded lesson in demographics, with disc one seemingly aimed at airbrushing out the last vestiges of Knowles' credibility in favour of a procession of lame pop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.
    • 47 Metascore
    • 40 Critic Score
    A very dull record.
    • 60 Metascore
    • 40 Critic Score
    For a moment one can hear Mraz's real soul, rather than a factory-assembled version. Sadly, it's too little and too late to save this queasy record.
    • 59 Metascore
    • 40 Critic Score
    In This Light And On This Evening is a weak, ill conceived and uninspiring effort.
    • 56 Metascore
    • 40 Critic Score
    Derulo's desperation to cover all commercial bases is only matched by an inability to stamp his own personality on them.
    • 61 Metascore
    • 40 Critic Score
    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.
    • 57 Metascore
    • 40 Critic Score
    A dismal and insipid collection of retrogressive mid-tempo ballads and textbook alt.rock moves.
    • 44 Metascore
    • 40 Critic Score
    What's that sound? That's the sound of a barrel scraping and a career being flushed down a toilet.
    • 48 Metascore
    • 40 Critic Score
    There's nothing raunchy or attitudinal here, just blustering dance-pop numbers and mushy ballads that owe a debt to Lady Gaga, minus all the flesh, spunk and bonkers stilettos.
    • 46 Metascore
    • 40 Critic Score
    Wham, bam, rock and glam, it's Marshall stacks turned up to 11 and Kelly riffing away in the steps of a heap of bands who do it better.
    • 64 Metascore
    • 40 Critic Score
    A knack for woozy melodies is one weapon at Nicholls' disposal; but here they're fatally undermined both by his petulant vocal style and by the rickety, paper-thin production.
    • 53 Metascore
    • 40 Critic Score
    That it'll be her most scrutinised release is a problem, because its stilted, wearying, obsessive concentration on an uncomfortably forced notion of it's creator's sexuality means it's the only album she's made in the last dozen years that doesn't merit such focussed attention.
    • 50 Metascore
    • 40 Critic Score
    If they've kept the good stuff back in the hope of better times, the decision was misguided; but if this is the best they can manage, the portents are, in the original sense of the word, ill.
    • 62 Metascore
    • 40 Critic Score
    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.
    • 64 Metascore
    • 40 Critic Score
    Meandering atmospheric intros and outros, with lyrics that often just repeat the same verse ad nauseum, overshadow what could be, at times, shorter, snappier songs.
    • 54 Metascore
    • 40 Critic Score
    Kasabian and their brass-necks have long since appropriated The Music's mantle of anthem-whoring psychedelic horsemen and there's barely a moment over the course of 12 tracks here where they contest that.
    • 73 Metascore
    • 40 Critic Score
    Greater things may well be in the pipeline for The Kooks, but this is sadly lacking in anything to fall - or indeed remain - in love with.
    • 76 Metascore
    • 40 Critic Score
    It's a dubious album whose chief innovation is a guest appearance by Nelly Furtado.
    • 61 Metascore
    • 40 Critic Score
    Airplay or not, however, he's also sounding seriously dated.
    • 58 Metascore
    • 40 Critic Score
    MSTRKRFT make a racket that's impressive at first but eventually the echoes of it return to bite them.
    • 58 Metascore
    • 40 Critic Score
    For now at least this is the sound of a band trying to do too much at once and sinking under the weight of their heroes.
    • 71 Metascore
    • 40 Critic Score
    With their abilities to self-censure and decide at what's fundamentally good gone seriously awry, the results are more likely to induce a rolling of eyeballs and suppressed sniggers rather than gasps of admiration.
    • 72 Metascore
    • 40 Critic Score
    For the most part, "In Case We Die" tries so hard to be fun it is almost no fun at all.
    • 60 Metascore
    • 40 Critic Score
    One meandering ballad follows another, each one overlong and labouring under the illusion that emotional profundity is more important than a decent tune.
    • 70 Metascore
    • 40 Critic Score
    Music that is designed to smother, to sedate, to lull the listener into a soporific state of boredom.
    • 52 Metascore
    • 40 Critic Score
    Awesomely anodyne, breathtakingly boring and crushingly clichéd, â??Astronautâ? singularly fails to take flight.
    • 62 Metascore
    • 40 Critic Score
    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.
    • 57 Metascore
    • 40 Critic Score
    There are moments where Usher's old charm and vocal velvetiness briefly resurface and remind the listener of what a bright talent he once seemed....But these highlights are rare, and Raymond vs Raymond mostly sounds as shallow and unappealing as its singer.
    • 65 Metascore
    • 40 Critic Score
    This collection of shimmering-smooth, synthesiser-led beats and lazy gangsta rap posturing isn't worthy of the once great Snoop.
    • 63 Metascore
    • 40 Critic Score
    Combined with the slick, predominantly live band set-up here it makes for some dreadfully clunky moments.
    • 62 Metascore
    • 40 Critic Score
    Their third, Happiness Ltd, is a sulky teenager, and about as attractive and engaging as that suggests.
    • 72 Metascore
    • 40 Critic Score
    Anyone looking for some spicy R'n'B to follow up Pink's fantastic breakthrough hit, 'Most Girls', will be sorely disappointed.
    • 65 Metascore
    • 40 Critic Score
    Frequently, it sounds like the band have spent most of that time labouring to make their fifth album as monumental as possible. Where once they swung, however ironically, now they plod. Slowly. Ponderously. In expensive lead boots.
    • 51 Metascore
    • 40 Critic Score
    Good or bad, everything here sounds like a lesser version of someone else.
    • 59 Metascore
    • 40 Critic Score
    "Riot City Blues" starts fairly poorly and gets progressively worse.
    • 68 Metascore
    • 40 Critic Score
    What pulls this album back from being anything but revelatory, however, is not only the typical lazy rock the band are purveyors of, especially 'Fire' and 'Fast Fuse,' but also the diabolical lyrical content that's employed throughout West Ryder Pauper Lunatic Asylum.
    • 52 Metascore
    • 40 Critic Score
    A record that surgically removes all trace of sensuality and replaces it with calculated, mechanical, by-numbers bump'n'grind action.
    • 58 Metascore
    • 40 Critic Score
    The World Is Yours is one of the year's worst albums.
    • 70 Metascore
    • 40 Critic Score
    Had they imploded in some bizarre gardening accident following the release of 'Danger! High Voltage' all would be forgiven. That single still sounds classic and retains the power to get Aunt Peggy off her seat at the wedding reception..... However, the rest appears to be have been cobbled together in a matter of hours.
    • 50 Metascore
    • 40 Critic Score
    Musically, it's a mess.
    • 70 Metascore
    • 40 Critic Score
    It's a cruel world in which a Nelly sells more records than the Blastmaster KRS but what 'Nellyville' makes abundantly clear is that its creator won't be leaving a fraction of his foe's proud mark on hip-hop once the dust settles on the frantic promotion of this record.
    • 63 Metascore
    • 40 Critic Score
    It's hard to imagine how Hands All Over could have been any more underwhelming. In truth the only exceptional thing about it is just how average it is.
    • 70 Metascore
    • 40 Critic Score
    There just aren't enough ideas or songs to make up for the overwhelmingly mean perspective.