Expert Witness (MSN Music)'s Scores

  • Music
For 232 reviews, this publication has graded:
  • 98% higher than the average critic
  • 0% same as the average critic
  • 2% lower than the average critic
On average, this publication grades 18.4 points higher than other critics. (0-100 point scale)
Average Music review score: 90
Highest review score: 100 Agnostic Hymns & Stoner Fables
Lowest review score: 70 Brighter
Score distribution:
  1. Mixed: 0 out of 232
  2. Negative: 0 out of 232
232 music reviews
    • 83 Metascore
    • 91 Critic Score
    The snatches of Scott-Heron's voice, cracked for sure but deeper than night nonetheless, delivers it from callow generalization and foregone conclusion.
    • 83 Metascore
    • 91 Critic Score
    The meaning's in the music, which to her considerable benefit shares the widespread Stockholm suspicion that the distinction between pop and dance music isn't worth troubling yourself over, but is nonetheless pinned for appearance's sake to the shades of yearning that mark it verbally.
    • 84 Metascore
    • 91 Critic Score
    The quirky murmurs, yelps, and coos of his head voice, a high end of unequalled softness and give, sound responsive where Jackson's sound willed. There's a girl there, or just as likely a grown woman. And whether or not El seems manly to you, he's turning her on and vice versa.
    • 61 Metascore
    • 91 Critic Score
    Euro synth duo, tuneful and sometimes haunting, always droney fun‑-textured, beaty lines under an unnaturally high-voiced girly-woman singing lyrics of no importance when you can make them out, which isn't often.
    • 74 Metascore
    • 91 Critic Score
    These 13 excellent songs are sufficiently specialized to make you realize how classic Volume 1 was--and what a theme statement "Past Time" was.
    • 76 Metascore
    • 91 Critic Score
    the doting Vasquez love song "Blue Eyes," the lyrical Dawes lost song "Thanks for Nothing," and the clippety-clopping Replacements road song "Portland" all augment the deep craft and acrid wordplay of the guy who's why you heard them‑-in fact, who's why you heard this varied, consistent, tune-conscious album.
    • 76 Metascore
    • 91 Critic Score
    They have mouths on them, yes they do. But their mouths are connected to their hearts and minds, and amped by loud guitars.
    • 82 Metascore
    • 91 Critic Score
    Beautiful, especially if you like your beauty grand. And beauty is good.
    • 75 Metascore
    • 91 Critic Score
    The four humanist protest songs she rolls out just before an unnecessarily dreamy closer seem so unforced you feel for all those who have striven so hard to do nothing more. Ari, Viv, Exene‑-because sisterhood is powerful, this one's for you.
    • 85 Metascore
    • 91 Critic Score
    The six tracks divided evenly between his 20-minute 2011 return and his 30-minute 2012 stride forward, cohere almost seamlessly as the album they become when you don't have to turn any plastic over.
    • 83 Metascore
    • 91 Critic Score
    With a push from Nas and a whoosh from Santigold and new life from their chorusing kids, the beats spritz and submarine in signature Beasties style as the rhymes claim contexts high-living and low-life.
    • 86 Metascore
    • 91 Critic Score
    More Prince than Ray Parker Jr., he plays with himself to beat the band, and makes these 10 tracks bump and pulse.
    • 78 Metascore
    • 91 Critic Score
    Parody is hard to sustain. That this follow-up provides so many laughs without flailing around in can-you-top-this? is a tribute to the comedians' musicality and their musician friends' sense of comedy.
    • 74 Metascore
    • 91 Critic Score
    Fortunately, they also do what all maturing s.-p.o.w.t.a. wish they could do‑-write better songs. I noticed the guitar roar first and the tunes second. But I stayed for the lyrics.
    • 82 Metascore
    • 91 Critic Score
    Horny for his wife but not horny enough, loving her like she's leaving because he thinks that might help, his songcraft is undiminished, and he remains the smartest and nicest guy in his world.
    • 78 Metascore
    • 91 Critic Score
    Just as Moore's tunings sharpen noise-rock intellectually, they tone up pretty-folk physically‑-as do Samara Lubelski's violin and producer Beck Hansen's synths.
    • 71 Metascore
    • 91 Critic Score
    This isn't up to The Fame or The Fame Monster. But both of those keep growing, and with its mad momentum and nutty thematics, this one could too--despite being laid down on tour trailed by 28 semis.
    • 85 Metascore
    • 91 Critic Score
    There's too much of the same on Flair's 25-year-old R&B Dynamite, which omits "Shortnin' Bread Rock" and adds only the very early "Be My Lovey Dovey" to her A list, though it includes all the obvious keepers. I prefer this in part because it's shorter. Makes the voice easier to treasure.
    • 79 Metascore
    • 91 Critic Score
    So much better than a Ferrari that never needs a tune-up, muse I. In the studio they're less accident prone, and they still tintinnabulate some. But now they also grunt.
    • 80 Metascore
    • 91 Critic Score
    What it sounds like is the redemption of Young's lost mid-'80s‑-the countryish album Old Ways was supposed to be, neither rote like Re-ac-tor nor static like that sacred cow Harvest.
    • 73 Metascore
    • 91 Critic Score
    I agree, men are dogs. But it gets my radar in a lather when this loving, lovable woman structures her 2007 album along a break-up's narrative arc and then four years later the same thing happens twice‑-only the first guy leaves her with a boychild who, let's be candid, she loves more unreservedly than she has any grown man on record.
    • 83 Metascore
    • 91 Critic Score
    Play loud. I can't speak to the listening practices of the post-illbient beatmakers whose tricks Palaceer Lazaro gathers together and improves on like he's just been waiting for the go-ahead from Tricky himself.
    • 84 Metascore
    • 91 Critic Score
    To call this the best record of his solo career isn't to claim it's great, it's to reckon that it's pretty darn good.
    • 74 Metascore
    • 91 Critic Score
    The way his heedless old songs liberate cautious young professionals lays to rest any doubts as to whether he belongs in the same pantheon as George M. Cohan and Irving Berlin. He just bequeathed us a smaller book.
    • 66 Metascore
    • 91 Critic Score
    Committed to synth squelch and chary of synth tweedle, it's basically instrumental except when transforming Mayer Hawthorne into the generic soul falsetto he was born to be and M.I.A. into the cheeky disco dolly she's too conscious to become.
    • 68 Metascore
    • 91 Critic Score
    Lulled into a formalistic revery by their catchy choruses, you assume their content is as null as their groove. But in fact they're so girl-shy it's thematic, and refreshingly empathetic about women with problems.
    • 77 Metascore
    • 91 Critic Score
    Church has always known how to write, and he's blowing here.
    • 78 Metascore
    • 91 Critic Score
    Sure the tone is often depressive or satirical. But it's also often kind, pained, silly, unhinged, and other things.
    • 76 Metascore
    • 91 Critic Score
    Predictably, Jay's power is more interesting than Ye's, which was funnier and sicker on My Beautiful Dark Twisted Fantasy. Think the patron's proximity made the protegee nervous? Think the patron figured it would? I do.
    • 74 Metascore
    • 91 Critic Score
    Less dynamic and more ruminative than The Ruminant Band, here are 10 songs and a poky instrumental for country hippies manque and other shaggy folk down on the little luck they ever had.