Drawer B's Scores

  • Music
For 121 reviews, this publication has graded:
  • 41% higher than the average critic
  • 4% same as the average critic
  • 55% lower than the average critic
On average, this publication grades 9.4 points lower than other critics. (0-100 point scale)
Average Music review score: 63
Highest review score: 100 Kill The Moonlight
Lowest review score: 10 On A Wire
Score distribution:
  1. Positive: 73 out of 121
  2. Negative: 21 out of 121
121 music reviews
    • 64 Metascore
    • 10 Critic Score
    Mediocre melodies ride atop formulaic songwriting.
    • 82 Metascore
    • 80 Critic Score
    Albarn’s ability to slither arrogantly from genre to genre while maintaining his charm is truly remarkable.
    • 88 Metascore
    • 80 Critic Score
    Not exactly radio friendly, The Woods explores sonic deconstruction a la Led Zeppelin and Jimi Hendrix instead of the preciously catchy indie pop hooks you’ve come to expect.
    • 70 Metascore
    • 30 Critic Score
    The tempos all too often meander into directionless drones, while the vocals portray a thin, bratty, post-punk posturing that tends to grate when not underpinned by a catchy chorus.
    • 84 Metascore
    • 90 Critic Score
    Gimme Fiction may not be your favorite Spoon record right now, but give it a few years.
    • 71 Metascore
    • 70 Critic Score
    For a guy that has so little to say with so few ways to say it, Trent Reznor has mastered the art of making what is old sound new again.
    • 63 Metascore
    • 20 Critic Score
    For the life of me I cannot fathom how people can claim this album is any sort of return to form.
    • 78 Metascore
    • 90 Critic Score
    Even though Guero sounds familiar sonically, it still pushes Beck further into a league that he all but owns.
    • 75 Metascore
    • 30 Critic Score
    Everything that was great about De-Loused in the Comatorium is blatantly absent, while all of the negatives now protrude like barnacled tumors.
    • 74 Metascore
    • 80 Critic Score
    The lyrical terrain is insultingly common (girls, life on the road, girls), yet the band has such an idiosyncratic method of expression that makes these everyday themes sound – at least over the course of each song – radically inspired.
    • 77 Metascore
    • 70 Critic Score
    On Take Fountain Gedge uses his sharpened songwriting chops to present his case and again proves himself a master of the pop song. It’s just that sometimes it feels like routine.
    • 67 Metascore
    • 40 Critic Score
    On Worlds Apart Trail of Dead sounds utterly reinvigorated yet dangerously reinvented.
    • 63 Metascore
    • 40 Critic Score
    Nowhere near as affecting as even latter day Sebadoh records like Harmacy, Emoh shows Barlow in a typically maudlin frame of mind, but the starkness of his voice is smoothed over with pointless overdubs
    • 82 Metascore
    • 80 Critic Score
    Low sounds fearless in its experimentation. Such personal intimacy juxtaposed with extremely haughty pretension could easily turn off listeners, but it’s all woven together so well that it’s hard to dismiss even the wrong turns.
    • 79 Metascore
    • 50 Critic Score
    Suffers from too much open-faced honesty and a serious lack of intensity.
    • 71 Metascore
    • 10 Critic Score
    It is pure fluff. And pretty awful fluff at that.
    • 76 Metascore
    • 40 Critic Score
    This collection is the antithesis of anything Kurt Cobain would have authorized, right down to the shiny metal packaging.
    • 63 Metascore
    • 20 Critic Score
    A sad stab at gimmicky duets with Justin Timberlake and obnoxious production by The Neptunes.
    • 64 Metascore
    • 30 Critic Score
    It’s trite rehash after trite rehash followed by pointless filler.
    • 82 Metascore
    • 70 Critic Score
    These songs will undoubtedly knock the wind out of you, but for every dynamic explosion or screeching wall of noise there’s a hook in tow.
    • 66 Metascore
    • 10 Critic Score
    Kathleen Hanna’s girlish yelp grates more than usual, practically bereft of charm, and her bandmates can barely write a functional song much less play one.
    • 52 Metascore
    • 50 Critic Score
    Astronaut doesnâ??t come close to ranking with the music that made the band world famous, but it has moments that make it easy to remember why the band rode such a wave to begin with.
    • 52 Metascore
    • 30 Critic Score
    Despite Hamilton's grittiest vocals to date, Size Matters is inarguably watered-down and bland.
    • 72 Metascore
    • 70 Critic Score
    Luckily, the band doesn’t cave into the dance-punk trend without expanding upon its current ubiquity with skillful songwriting and risky avoidance of testosterone.
    • 65 Metascore
    • 50 Critic Score
    It’s safe, unobtrusive, and ubiquitously “indie”, if well produced and memorably melodic, at times.
    • 56 Metascore
    • 10 Critic Score
    This is just an awful display of gratuitous self-indulgence.
    • 80 Metascore
    • 80 Critic Score
    Antics is a grower. It’s not as grandiose as its predecessor, but it still packs a lasting punch.
    • 89 Metascore
    • 90 Critic Score
    Last Exit is a monumental debut... on par with It’s My Life or Non-Stop Erotic Cabaret.
    • 71 Metascore
    • 70 Critic Score
    The Delivery Man is a solid, albeit slightly over-learned and patronizing, collection of bluesy rock.
    • 70 Metascore
    • 70 Critic Score
    Yeah, it’s another Silkworm record. It’s not the band’s best and it’s not the band’s worst. It rocks in its own unique, world-weary way.