Drowned In Sound's Scores

  • Music
For 3,285 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 1.8 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 An Introduction to Elliott Smith
Lowest review score: 0 And Then Boom
Score distribution:
3,285 music reviews
    • 78 Metascore
    • 90 Critic Score
    This is an organic, homegrown creation that sounds as though it's had a lot of time and love invested in it; lend an inquisitive ear and find yourself instantly besotted.
    • 76 Metascore
    • 90 Critic Score
    This is Crimes refined, sculpted so that its edges aren’t as jagged as many sound-clashes past have proved to be; it exhibits managed eccentricity enough to stoke the furnaces of intelligent, demand-more punks worldwide.
    • 76 Metascore
    • 90 Critic Score
    It is, in a word, magnificent.
    • 72 Metascore
    • 90 Critic Score
    If you’ve even the slightest interest in ‘heavy’ music, you simply must make Saturday Night Wrist an integral part of your record collection.
    • 74 Metascore
    • 90 Critic Score
    The Beatific Visions is one of the most enthralling, deceiving and delightful albums of recent times.
    • 80 Metascore
    • 90 Critic Score
    Songs for Christmas is beautiful.
    • 84 Metascore
    • 90 Critic Score
    Over twenty years later their music continues to connect.
    • 77 Metascore
    • 90 Critic Score
    It fits and works together perfectly despite the fact that the songs showcase the development of a thirteen-year career.
    • 78 Metascore
    • 90 Critic Score
    Though by no means as manic as previous Deerhoof long-players, this is a intriguing record which stands up next to the bewildering excellence of Runners Four.
    • 79 Metascore
    • 90 Critic Score
    If Oh, Inverted World and Chutes Too Narrow were like ADHD-riddled cousins, unable to inhabit their own thoughts for longer than a few seconds at a time, then Wincing The Night Away is the Ritalin-gorged riposte. Its bounce is more bleary-eyed; its euphoric bouts tempered by a weird, waking-dream sensation that some dark presence is stalking the peripheries of its foggy vision.
    • 65 Metascore
    • 90 Critic Score
    A Weekend In The City is the aural adaptation, a digital manifestation, of what it’s like to be a twenty-something in Britain, today. It’s dirty, dishevelled, unsure and paranoid; fearful, easily distracted, boisterous and ashamed; reckless, wild, nervous and terrified; graceful, thought-provoking, clumsy and contradictory. And it’s very nearly perfect.
    • 76 Metascore
    • 90 Critic Score
    Their best yet: it’s multi-faceted like no release before it (from the band’s catalogue), and each and every nuance is super funky.
    • 71 Metascore
    • 90 Critic Score
    This isn't a rave record. It was never supposed to be. It's a wildly varying catalogue of melody and energy that eschews genre and scene in favour of songwriting and awe-inspiringly beefy production.
    • 65 Metascore
    • 90 Critic Score
    Imagine The Mars Volta's swollen red super-giant bursting beyond the constraints of mass and time and finally contracting to an all encompassing black-hole, sucking in Lightning Bolt’s heaviest riffs and The Boredoms’ most intense drum work after hurtling them to ‘n’ fro against all manner of cosmic debris.
    • 70 Metascore
    • 90 Critic Score
    Here, Aereogramme have created something more than deserving of all the praise lavished upon it.
    • 81 Metascore
    • 90 Critic Score
    This is an intellectual jaunt that reveals the beauty of pop music, both musically and lyrically.
    • 83 Metascore
    • 90 Critic Score
    That music so majestically restrained in pace can make your heart beat so quickly is a testament to The Besnard Lakes’ focus and ability to coat each millisecond of track time with an utterly captivating sound without ever becoming clogged up with their myriad ideas.
    • 77 Metascore
    • 90 Critic Score
    This is a wonderful, intoxicatingly special album that deserves to be cherished, and played and played.
    • 87 Metascore
    • 90 Critic Score
    It’s all masterful.
    • 84 Metascore
    • 90 Critic Score
    Copia is the sound of Cooper surpassing himself, combining his patented minimalist drones with beautifully rendered piano.
    • 83 Metascore
    • 90 Critic Score
    23
    This is the next record you have to buy. Absolutely. Unequivocally.
    • 60 Metascore
    • 90 Critic Score
    This is CocoRosie's best long-player yet, and a sure contender for album of the year.
    • 76 Metascore
    • 90 Critic Score
    Listened to as a journey from beginning to end, this is a genuine attempt to progress to pastures new after With Teeth.
    • 70 Metascore
    • 90 Critic Score
    Think of Sensuous as like walking round a modern art museum: sometimes difficult to fathom, always a perverse thrill.
    • 79 Metascore
    • 90 Critic Score
    Enough variety is here, and it all fits together as beautifully as Let It Die did.
    • 76 Metascore
    • 90 Critic Score
    It’s a little bit adventurous, capable of surprising sidesteps, but remains safely at home in Electrelane’s own engagingly individual aesthetic.
    • 86 Metascore
    • 90 Critic Score
    It is the subtle orchestral aspect to the record that stands out, with the same washed arrangements that Grizzly Bear and close cohorts Clogs manage to incorporate so casually.
    • 86 Metascore
    • 90 Critic Score
    Whereas before in their career the four-piece seemingly tossed myriad elements about with little to no regard for the actual acceptability of the composition at hand, here each and every piece – pieces that truly do flow into one another quite magically – sinks into the listener’s synapses silkily, short-circuiting them through disbelief rather than a simmering intolerance.
    • 70 Metascore
    • 90 Critic Score
    With giant gyrating reverberated guitars and a grandiose brass section, this is the sound of a rock band attempting the sweeping gallantry of Sibelius or Tchaikovsky and getting away with it. It represents a smugly victorious ending to what is a phenomenally strong and well-polished album.
    • 84 Metascore
    • 90 Critic Score
    What’s really on display here is a well honed, experienced band flexing their muscles and creating tightly controlled, good old fashioned rock ‘n’ roll music (of a rather cerebral variety) on their own terms, free from the weighty plague of fashion.