Drowned In Sound's Scores

  • Music
For 4,461 reviews, this publication has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 1.6 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 In Utero [20th Anniversary Edition]
Lowest review score: 0 BE
Score distribution:
4461 music reviews
    • 80 Metascore
    • 30 Critic Score
    What Calvi's debut is a mixture of sprawling guitars that teeter somewhere between Tortoise's mathy noodlings, Deerhunter's brownish hue, Hendrix's fade outs and Howling Bells' shimmering grunge-gaze.
    • 76 Metascore
    • 20 Critic Score
    The orchestra tries so desperately to stage this cool retro show, but there are so many glaring holes in the script.
    • 75 Metascore
    • 20 Critic Score
    Bahdeni Nami is nothing more than a dull and flat dance record, dressed in the trappings of the 'exotic' and 'worldly'.
    • 74 Metascore
    • 30 Critic Score
    The Rapture have kept all the ingredients from their previous successes, but they have forgot to ignite the oven.
    • 73 Metascore
    • 30 Critic Score
    By track five Hardwired has already showed off all its tricks, and I find myself quite tempted to show my discontent by going to listen to Slayer instead.
    • 73 Metascore
    • 30 Critic Score
    It seems they’ve not only gone and made that sensible and mature fifth album that every band past their sell-by date inflicts on their effervescently loyal fans, they’ve actually made a record that would be more appropriate in an old folks’ home than your local indie niterie.
    • 73 Metascore
    • 30 Critic Score
    It’s a confused effort, with the songwriting faults, misguided lyrics, and the foolish sidelining of Cage the Elephant's greatest weapon (Schultz’s voice) torpedoing the vast majority of tracks.
    • 73 Metascore
    • 30 Critic Score
    I only wish that they had given us something with a little more substance rather than the bland mess we’ve been left with.
    • 73 Metascore
    • 30 Critic Score
    To truly grasp the vigour of Do Whatever You Want All The Time, do it yourself. Grab four mates, pick up some instruments and go nuts. Just don't cut an album from the sessions.
    • 72 Metascore
    • 30 Critic Score
    There are moments which hint at Casablancas’ underlying skill as a writer on Phrazes, but there’s such a ruinous deployment of disparate ideas that they never form a cogent whole.
    • 72 Metascore
    • 20 Critic Score
    This is not the sound of the London underground (although the album ends with that particular sound); it sounds nothing like London. Not the London I know. London Undersound was made by a Wandsworth-ite so rapt by his own fears and insecurities, that he has completely lost sight of the bigger picture.
    • 71 Metascore
    • 30 Critic Score
    The Diving Board feels like an album made by somebody who’s spent the last few years performing the same set list night after night in Vegas.
    • 70 Metascore
    • 30 Critic Score
    Sébastien Tellier has a tendency to tackle substantial topics, and it often smacks of dilettantism.
    • 70 Metascore
    • 30 Critic Score
    It's at the safest of removes; emote by rote, numbness by numbers.
    • 70 Metascore
    • 30 Critic Score
    In many ways it's a hip joke of an album.
    • 70 Metascore
    • 30 Critic Score
    There really is nothing of great merit to this album.
    • 69 Metascore
    • 30 Critic Score
    At his best Turner can be immensely charming and gloriously witty. Sadly, these facts only makes the dreary, alarmingly soulless retreads that populate most of Positive Songs for Negative People all the more depressing.
    • 69 Metascore
    • 20 Critic Score
    This is a piece of chewed-out gum; with no viable nutrition, no flavour and no joy. Do yourself a favour and spit it out.
    • 68 Metascore
    • 30 Critic Score
    In trying to be all things to all fans, all critics, all expectations, all click-bait corners, Harry Styles has failed to make a defining statement.
    • 68 Metascore
    • 30 Critic Score
    Taragana Pyjarama is unstimulating, oddly soothing in an anesthetized way, hypnotic in the most guileful sense.
    • 67 Metascore
    • 30 Critic Score
    Fade Away is the sound of a band clinging to the lost potential of their past for buoyancy, trying desperately not to drown in their own aimlessness.
    • 67 Metascore
    • 30 Critic Score
    It’s crushingly disappointing from a band that can sound so much better.
    • 67 Metascore
    • 20 Critic Score
    Liam Howlett and the boys embrace their psycho circus schtick on The Day Is My Enemy to the point of suffocation.
    • 66 Metascore
    • 20 Critic Score
    The all-over-the-place sounds don’t remotely go together, and not even in a good way.
    • 66 Metascore
    • 30 Critic Score
    All in all, the album is unremarkable, showing only rare flashes of lyrical prowess, and melodically unadventurous. Bugg fails to push boundaries and flounders outside his recent comfort zone, resulting in a record that fails to impress, delivered without vigour.
    • 66 Metascore
    • 30 Critic Score
    'Rock N Roll' is the worst record Ryan Adams has ever put his name to; a mess of identikit garage buffoonery and amateurish production, filled with rushed lyrics and written-in-a-weekend tunes.
    • 66 Metascore
    • 30 Critic Score
    But most of all, these songs really blow, man. Way to top-load it with three half-decent tracks at the start.
    • 66 Metascore
    • 20 Critic Score
    Napalm is a long ass 18 track slog, and the pointless thug boasts scattered throughout the album.
    • 65 Metascore
    • 30 Critic Score
    Sure this album may well sound awesome if you’ve just snorted a metre of charlie or recently breakfasted from a menu of ‘shrooms and LSD, but for sober ears it’s enough to drive anyone to drugs.
    • 65 Metascore
    • 30 Critic Score
    It screams often, confused, like the mess that it is.