Exclaim's Scores

  • Music
For 2,912 reviews, this publication has graded:
  • 61% higher than the average critic
  • 4% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 2 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 Everybody Is Going to Heaven
Lowest review score: 10 Excuse My French
Score distribution:
2912 music reviews
    • 79 Metascore
    • 70 Critic Score
    Lone's take on DJ-Kicks nails it right out of the gate, but starts to lose its eclectic melange as it pushes forward, swapping out the nuanced front half of the album with bland cut-outs that vary too little.
    • 76 Metascore
    • 70 Critic Score
    Belief System should clearly have been released as two separate albums; one that's a candidate for album of the year and one that's completely forgettable.
    • 80 Metascore
    • 80 Critic Score
    Throughout the album's 11 tracks and over 42 minutes of music, the quartet manage to brood their way through numerous artistic themes, from Bruegel the Elder to Samuel Beckett, running each through a Western American scope.
    • 78 Metascore
    • 80 Critic Score
    The consistency here comes in the form of non-stop, solid tracks; there isn't a bad recording on this whole album, which is no easy feat.
    • 72 Metascore
    • 80 Critic Score
    The band still know how to write a good "whoa-oh," and their message has been sharpened by outside factors, making it seem more vital than ever. Anti-Flag haven't changed; the world has.
    • 77 Metascore
    • 60 Critic Score
    Wilkinson's eighth full-length shows the musician's adeptness at thoughtful, patient compositions, but he seems to have forgotten the value of self-editing.
    • 70 Metascore
    • 70 Critic Score
    World Wide Funk doesn't break any new ground, but it showcases Bootsy Collins blissfully stretching out.
    • 90 Metascore
    • 80 Critic Score
    The Dusk in Us is another step forward for Converge, pushing their sound to new levels in a way that is uniquely their own. Although it took five years to come to fruition, the record was well worth the wait, and stands as a testament to why the band have become so hugely influential.
    • 78 Metascore
    • 80 Critic Score
    Anthology: Movie Themes 1974-1998 is a fine introduction to John Carpenter the musician for newbies, and a welcome re-visit for longtime fans.
    • 72 Metascore
    • 80 Critic Score
    This LP captures Shigeto's embracing of myriad sounds, styles and sensibilities, and while his original sound still shines through, he shows the listener that diving into new territory can have massive payoffs.
    • 80 Metascore
    • 80 Critic Score
    There are plenty of other highlights to be raved about in 4eva Is a Mighty Long Time's massive tracklist. Do yourself a favour: pick up this LP and immerse yourself not only in its impressive breadth, but also its practically unparalleled depth.
    • 61 Metascore
    • 60 Critic Score
    As a standalone release, devoid of the visual context it's designed to pair with, Rat Film doesn't always find lasting purchase, but it does in parts. ... Still, Rat Film shows off increasing nuance and range in Deacon's abilities as a composer.
    • 77 Metascore
    • 50 Critic Score
    Her move away from pop music on The Lonely, The Lonesome & The Gone signals a deeper understanding of the country, blues and soul genres, but there aren't enough ideas here to make it succeed.
    • 82 Metascore
    • 80 Critic Score
    Though highly unlikely to unseat Hometowns or Departing as fan favourites, The Wild follows in the footsteps of the band's previous album, Mended with Gold, as a very strong album that doesn't yet hold the same sentimental value as their earlier material.
    • 80 Metascore
    • 80 Critic Score
    Colleen continues to craft uniquely personal experimental music with a clear artistic voice, and her latest release might be her greatest achievement yet.
    • 78 Metascore
    • 90 Critic Score
    Like Maus's best work, Screen Memories converses primarily through its musical and instrumental affect. These songs are so clearly laboured over and full of detail that their impact as a whole, coupled with bizarre and often-obfuscated lyrics, can easily wash over a first-time listener. Spend some time immersed in their depths, though, and watch as they unravel and fill in Maus's immaculate vocal sketches.
    • 78 Metascore
    • 70 Critic Score
    Bizarrely infectious and never dull, this album of anarchistic yet spiritually reverent psychedelic experimental ragas is well worth checking out.
    • 88 Metascore
    • 90 Critic Score
    It's not only her best work, but the best amongst her peers, the sort of album that transcends the lane she was in beforehand, transcends whatever antiquated gender biases may still permeate the genre and puts her in the same category as your favourite rapper (who's now clamouring for a Rapsody feature).
    • 83 Metascore
    • 90 Critic Score
    Baker is careful not to glorify life's darkest moments, and certainly doesn't on Turn Out the Lights. Rather, her candid portrayal of pain is a rare and beautiful gift.
    • 64 Metascore
    • 30 Critic Score
    Weezer have had their share of ups and downs over the years, but Pacific Daydream finds them at their most clunky yet.
    • 86 Metascore
    • 80 Critic Score
    Uptempo or down, Shane's performances were maximum R&B before the term was coined.
    • 85 Metascore
    • 80 Critic Score
    Mirror Reaper is certainly an outstanding accomplishment in the Bell Witch catalogue. It may be their most emotionally stirring and musically ambitious record to date.
    • 70 Metascore
    • 60 Critic Score
    Longtime fans of Gwar will surely find a track here and there that's worthwhile, but in general, they would be better off returning to their back catalogue.
    • 76 Metascore
    • 70 Critic Score
    Backwater is a mature, rich effort that's likely to see Kllo continue on their ascent.
    • 80 Metascore
    • 80 Critic Score
    Mnestic Pressure feels like a synthesis of electronic music's best bits woven together in an intricate pattern, expertly, as very few producers can.
    • 78 Metascore
    • 80 Critic Score
    Ken
    With ken, he has once again delivered an excellent record that offers both sonic surprises and familiar idiosyncrasies.
    • 86 Metascore
    • 70 Critic Score
    Lucinda Williams is an artist with the confidence to say what needs to be said, and the power to back it up. On This Sweet Old World, she might be repeating the words, but she's hardly repeating herself.
    • 82 Metascore
    • 90 Critic Score
    All American Made is provocative, charismatic and endearing, proving what many of country's all-time greats already seem to know: Margo Price is a legend in the making.
    • 75 Metascore
    • 60 Critic Score
    It's frankly still a pleasure to hear Lindstrøm masterfully keep everything in check, but there's a distinct lack of the full-throttle joyousness that he's capable of. If it was his intentional choice to temper that instinct, it was sadly misjudged.
    • 80 Metascore
    • 80 Critic Score
    The OOZ also practices an astonishingly brilliant economy of sound, allowing only the most needed instrumentation to percolate to the surface, emanating and radiating: nothing is overblown; everything is necessary.