Drowned In Sound's Scores

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For 4,812 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 1.9 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 Parades
Lowest review score: 0 And Then Boom
Score distribution:
  1. Positive: 3,477 out of 4812
  2. Mixed: 1,220 out of 4812
  3. Negative: 115 out of 4812
4812 music reviews
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    • 87 Metascore
    • 70 Critic Score
    World Music
    [World Music is] a wonder through the traditional folk and more amplified sounds of the planet's history, yet infused with enough of Goat's own character to all glue together.
    • 87 Metascore
    • 80 Critic Score
    Gala Mill
    Brilliantly inspiring while intoxicated, Gala Mill holds its own well under sensible, concentrated scrutiny.
    • 87 Metascore
    • 70 Critic Score
    Random Access Memories
    After the sometimes frustrating, frequently exhilarating journey, the thrilling, head-shattering, Captain Eugene Cernan-sampling 'Contact', manned by DJ Falcon, simply soars.
    • 87 Metascore
    • 80 Critic Score
    Neon Bible
    Perhaps the true beauty of Neon Bible is its imperfection.
    • 87 Metascore
    • 80 Critic Score
    Celestial Lineage
    In a way, this fourth album by Olympia nature boys Wolves In The Throne Room might be their first release that actually sounds like what their detractors keep insisting they sound like. Not that it's diluted or weedy, far from it in fact.
    • 87 Metascore
    • 70 Critic Score
    In a Poem Unlimited
    The feminine focus of Remy’s music overlaps with the political in exact and contemporary ways.
    • 87 Metascore
    • 70 Critic Score
    Is Survived By
    It’s a cohesive experience, solidly held together within itself, spurring re-listening not just as a conscious opportunity for thematic re-evaluation, but through the compelling, primal sense of purgative compressed energy within their sound itself.
    • 87 Metascore
    • 90 Critic Score
    Felt
    Nils Frahm is clearly a prestigious talent and this is a remarkable tumble through the sounds and shapes of his imagination.
    • 87 Metascore
    • 80 Critic Score
    Bowler Hat Soup
    It’s refreshing that the northerner is not shy about massive self-expression; besides, his lyrics are merely extravagant, not indulgent.
    • 87 Metascore
    • 80 Critic Score
    Innocence is Kinky
    Only rarely is one privileged to be carried away by a record so beautifully absorbed with its own vision.
    • 87 Metascore
    • 90 Critic Score
    Cocoa Sugar
    This is a far more stripped down, stream-lined record that remains just as essential and urgent as all their output so far with little to no compromise.
    • 87 Metascore
    • 80 Critic Score
    The Suburbs
    In a nutshell, The Suburbs' two most important achievement are to a) be good and b) not be a rehash of its predecessors.
    • 87 Metascore
    • 90 Critic Score
    Gish [Deluxe Edition]
    As for the deluxe aspects of this release, the record sounds about as good as it always did.
    • 87 Metascore
    • 90 Critic Score
    In Colour
    In Colour stands tall as a bold and renewably-exciting triumph.
    • 87 Metascore
    • 80 Critic Score
    House of Balloons
    For what The Weeknd have produced, regardless of what genre it is or isn't, is a very good record.
    • 87 Metascore
    • 80 Critic Score
    Seven Swans
    Stevens has a beautiful voice and a rare melodic instinct but it is the passion with which he performs these songs that causes them to communicate so much, so well.
    • 87 Metascore
    • 90 Critic Score
    Kala
    With its mix of Tamil pop, Baltimore beats and, yes, funk carioca Kala succeeds best in pulling genres together to make something both unique and identifiable --a 'hip-hop' record that explores what it means to sing about "hip-hop things."
    • 87 Metascore
    • 90 Critic Score
    22, A Million
    22, A Million is a triumph even before ‘666 ʇ’ and the Springsteen-dashed ‘8 (circle)’ cast their own entrancement. The beauty of it is that this is a puzzle, one that will initially confuse and ultimately resonate in a way that feels deeply organic.
    • 87 Metascore
    • 80 Critic Score
    Part Lies Part Heart Part Truth Part Garbage: 1982-2011
    The most important thing to establish is that most of this music is extraordinary and that the first half is nigh on faultless... much of the second half really does feels like band or label have tried to airbrush out the stuff the Yanks didn't like so much.
    • 87 Metascore
    • 90 Critic Score
    Springsteen on Broadway
    Less a concert than a monument to a life, a jubilant-sad, bittersweet way to mark the beginning of this old man’s final act, a taking stock, an affirmation that this all mattered. Springsteen on Broadway is a show about a man who dreamed of escape who never escaped.
    • 86 Metascore
    • 90 Critic Score
    Let England Shake
    It is a record marked by a weary wonder at the departure of something huge from the world – Victorian invention and enterprise, the ages of steam and discovery, the impossible cruelty of empire, all fading into a half-remembered dream.
    • 86 Metascore
    • 80 Critic Score
    Sound Of Silver
    While opening track ‘Get Innocuous’ gently apes his own ‘Losing My Edge’ for the first minute and a half, the rest of the LP gradually moves onwards and upwards; either improving and tightening the previous template, or trying new things altogether.
    • 86 Metascore
    • 70 Critic Score
    Body Talk
    Whilst this is arguably down to her much-publicised intention to release as much material as possible over a short space of time, one cannot help but wonder whether - with a keen eye on quality control - the Body Talk trilogy could/should have been a truly groundbreaking single album.
    • 86 Metascore
    • 80 Critic Score
    This Is Still It
    Perhaps they're better this way, as a hidden gem to be stumbled across or searched out. It's certainly worth the effort, as they sure as hell don't make them like this any more.
    • 86 Metascore
    • 90 Critic Score
    Who Kill
    One can only hazard a guess as to what her next venture will sound like, but if whokill is anything to go by, tUnE yArDs' prospects are endless.
    • 86 Metascore
    • 80 Critic Score
    Comicopera
    There are few who could delve into such weighty issues without succumbing to empty rhetoric, but it's testament to Wyatt's unpretentious approach that he pulls off the trick while retaining a lightness of touch that makes Comicopera such a consistent pleasure to listen to.
    • 86 Metascore
    • 70 Critic Score
    Remind Me Tomorrow
    Remind Me Tomorrow isn’t as consistently captivating as Tramp or Are We There, but it’s nonetheless a delightful return, one that gives us a new (pleasingly less traumatic) window into Van Etten’s world.
    • 86 Metascore
    • 90 Critic Score
    thank u, next
    Occasionally, rarely, a record comes along that restores our faith. If this is the future of pop-music, then sign me up.
    • 86 Metascore
    • 90 Critic Score
    Natalie Prass
    The rich production and ambitious, multi-faceted arrangements provided by White’s Spacebomb crew are the perfect foil for Prass’s soft, exquisite voice and expressive, tear-stained songs, such that the overwhelming impression of the LP is, against the odds, one of triumph; of beauty both wrangled out of and amplified immeasurably by loss.
    • 86 Metascore
    • 90 Critic Score
    Mirrored
    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.
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