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 Neon Golden
Lowest review score: 10 Out Of Nothing
Score distribution:
  1. Positive: 73 out of 121
  2. Negative: 21 out of 121
121 music reviews
    • 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.
    • 78 Metascore
    • 70 Critic Score
    If the fact that Albini seems to bury Falkous’ yelps behind too much dissonance bothers you, there’s plenty of joyous wreckage to revel in.
    • 71 Metascore
    • 70 Critic Score
    The Delivery Man is a solid, albeit slightly over-learned and patronizing, collection of bluesy rock.
    • 72 Metascore
    • 70 Critic Score
    X&Y
    It’s an expansive and stupendously produced record with a handful of remarkable songs.
    • 59 Metascore
    • 70 Critic Score
    The downside of Counterfeit2 is its uniformity.
    • 82 Metascore
    • 70 Critic Score
    With Murray Street the band has made a persuasive case for its ongoing existence for the first time in over a decade.
    • 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.
    • 75 Metascore
    • 70 Critic Score
    The most noteworthy aspect of The Photo Album is the band’s upward trajectory. The music is cohesive and even, though still somewhat sluggish.
    • 83 Metascore
    • 70 Critic Score
    !!! fuses the Tom Tom Club’s frivolous white-boy syncopation with ESG’s polyrhythmic propulsion to make your brain feel informed while your feet work very hard to embarrass you.
    • 74 Metascore
    • 70 Critic Score
    And while lyrically nothing comes close to eclipsing the pop genius of "Heartbeats" from their previous release, Deep Cuts, several tracks on Silent Shout demonstrate considerable growth both lyrically and musically, making this a solid follow up from a band that has further evolved their own curious brand of synthpop.
    • 61 Metascore
    • 70 Critic Score
    18
    Moby continues to do on 18 what he’s always done best, and that is to fuse disparate musical styles with a pop sensibility, while maintaining a moody, almost gothic theme.
    • 69 Metascore
    • 70 Critic Score
    Granted, Kweller is still searching for an unique voice, as his music still wears its roots a little too blatantly, but he’s definitely on the right track.
    • 72 Metascore
    • 70 Critic Score
    It is a little more scattered than the last few proper Stereolab albums in terms of musical threads, but the urbane electro-funk of “Interlock” as well as the jittery disco pomp of “Eye of the Volcano” prove that Stereolab is still tweaking the formula with one foot in Esquivel’s grave and the other several light years away.
    • 70 Metascore
    • 60 Critic Score
    [Gilbert’s] chirping voice is such a spectacle at times, you won’t know whether to laugh or punch a hole in the wall.
    • 73 Metascore
    • 60 Critic Score
    Less than half of the record actually sports the rock I salute it for, but when it does Superdrag shines like a blast from the past but without the feeling that it’s a calculated throwback to anything in particular.
    • 76 Metascore
    • 60 Critic Score
    Only vaguely hints at what the future holds, relying mostly on its tried and true formula of layered, epic rock and raw, pounding emotion.
    • 79 Metascore
    • 60 Critic Score
    It sounds overcooked, over-thought, and overly ambitious, but such growing pains are preferable to pandering.
    • 70 Metascore
    • 60 Critic Score
    Style definitely outweighs substance in the world of The Raveonettes.
    • 73 Metascore
    • 60 Critic Score
    They show great promise, but also fall victim to the uncertainty of a band drastically altering their sound and trying too hard to make grandiose statements.
    • 68 Metascore
    • 50 Critic Score
    A strange and somewhat inconsistent release.
    • 67 Metascore
    • 50 Critic Score
    It’s far from the level of a Magnetic Fields release – or even The 6ths for that matter – and, therefore, won’t appeal to casual fans.
    • 65 Metascore
    • 50 Critic Score
    It’s safe, unobtrusive, and ubiquitously “indie”, if well produced and memorably melodic, at times.
    • 69 Metascore
    • 50 Critic Score
    3121 may be funkier, edgier, and dancier than Musicology, but it still doesn’t push the envelope on a level that would constitute a true return to form.
    • 85 Metascore
    • 50 Critic Score
    Sleater-Kinney’s weakest album in years.
    • 82 Metascore
    • 50 Critic Score
    The Blood Brothers pretty much have one speed: murder. This will tire even the most patient ears after about fifteen minutes, although, the album does show signs of expanded musical breadth with slower, albeit, brief melodic interludes and unconventional instrumentation (xylophones, toy pianos).
    • 73 Metascore
    • 50 Critic Score
    Beneath all the off-kilter catchiness, quirkiness and aggression lies little of substance.
    • 79 Metascore
    • 50 Critic Score
    Suffers from too much open-faced honesty and a serious lack of intensity.
    • 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.
    • 71 Metascore
    • 50 Critic Score
    There are some good songs here, to be sure, but they’re wedged between too many meandering, indistinct retreads of self-referential bombast.
    • 67 Metascore
    • 50 Critic Score
    In small doses casual, uninformed listeners could mistake this for vintage Pink Floyd, but it lacks the tension of Pink Floyd’s passive aggressive rumble.