Fact Magazine (UK)'s Scores

  • Music
For 428 reviews, this publication has graded:
  • 45% higher than the average critic
  • 4% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 1.7 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 Yeezus
Lowest review score: 10 Education, Education, Education & War
Score distribution:
  1. Negative: 9 out of 428
428 music reviews
    • 80 Metascore
    • 70 Critic Score
    Swing Lo Magellan features some of the Dirty Projectors' most straightforward pop songs to date.
    • 81 Metascore
    • 70 Critic Score
    The self-awareness of this conflict makes Life Is Good a more compelling listen than Nas has delivered in a while.
    • 76 Metascore
    • 70 Critic Score
    A Collection... isn't Maus' best record--played back to back with We Must Become The Pitiless Censors Of Ourselves, it blanches in comparison--but it's a fine insight into the mind of an inspired Lord Of Misrule.
    • 83 Metascore
    • 70 Critic Score
    In short, it's big, dumb, and a lot of fun, but the overriding feel to TNGHT is that it feels closer to being the start of something great than a great record in itself.
    • 64 Metascore
    • 70 Critic Score
    Regional Surrealism will leave you with a sense of the unresolved, but that's no bad thing: think of it not as a neatly contained expressive statement so much as a window onto a deeply idiosyncratic meditative practice.
    • 67 Metascore
    • 70 Critic Score
    Steam Days is a worthwhile--if slightly unseasonal--listen.
    • 61 Metascore
    • 70 Critic Score
    It is satisfying--almost a relief--see potential in this record for something more from the group.
    • 74 Metascore
    • 70 Critic Score
    As a psychological snapshot of DOOM's current inbetween-ness, it's certainly a fascinating listen. But, interesting as it is, it's a mite too spiritless to be considered a classic DOOM record.
    • 79 Metascore
    • 70 Critic Score
    Neither spectacular or deflating, Coexist is simply the sound of the xx, more or less just as we left it: minimalist, intuitive, romantic and enchanting. Consequently it's a good album, for exactly the same qualities that made their debut likewise.
    • 75 Metascore
    • 70 Critic Score
    All things considered, this is a handsome, stately album.
    • 77 Metascore
    • 70 Critic Score
    Will Happiness Find Me? is a fitful, thought-provoking listen.
    • 84 Metascore
    • 70 Critic Score
    This CD version has some outstanding moments, and at times is a masterful lesson in dream-like production.
    • 83 Metascore
    • 70 Critic Score
    For an album that, at times, is beautiful, it doesn't hypnotise you, it doesn't entrance you, and even its best moments fail to stay in your head.
    • 63 Metascore
    • 70 Critic Score
    For the most part, it's content to lull the listener into a state of bliss.
    • 78 Metascore
    • 70 Critic Score
    This perpetual cycling through of ideas can be fascinating but also fatiguing, and it ultimately marks the record's most debilitating flaw.
    • 86 Metascore
    • 70 Critic Score
    In its finished form, Miguel's Kaleidoscope Dream is a testament to his evolved songwriting, reverence to the past, and refusal to be pigeonholed.
    • 78 Metascore
    • 70 Critic Score
    For the most part this is a composed, nourishing pop album.
    • 75 Metascore
    • 70 Critic Score
    Lonely At The Top has ample points to recommend it: its breadth of scope tempered by its unity of feel; the finesse of its construction paired with Blair's ear for bold sonic combinations. And yet it's curiously difficult to love.
    • 86 Metascore
    • 70 Critic Score
    It is certainly a gorgeous production, and tracks will possibly come across differently in a mix, even if it is not quite what many will have been expecting.
    • 75 Metascore
    • 70 Critic Score
    When times are lean, Smalhans contains just the sort of shamelessly calorific dance music that we should be thankful for.
    • 76 Metascore
    • 70 Critic Score
    In running time and number of songs, (III) may be their shortest album, but it's also their most cohesive personal statement yet.
    • 78 Metascore
    • 70 Critic Score
    Even if How to destroy angels_ are simply tweaking a long-established formula, rather than clearing the chalkboard, An Omen_ still presents a band that has mastered the task at hand.
    • 77 Metascore
    • 70 Critic Score
    There's stacks to enjoy, but, for the most part, Release bares its bones and hides its heart.
    • 68 Metascore
    • 70 Critic Score
    It's an interesting change of direction, and arguably a good one too.
    • 74 Metascore
    • 70 Critic Score
    While a large portion of the LP sounds like a continuation of his earlier work this year, these tracks point optimistically towards something a little different once again, while still managing to fit under that increasingly hard-to-define Bambounou umbrella.
    • 79 Metascore
    • 70 Critic Score
    Arc
    While certainly not the most sincere album around, nevertheless there is ingrained in its tireless activity a genuine passion to fight the loneliness of intelligence, of neurotic shyness--to fight an inability to connect with people, that condition exacerbated in the era of social media.
    • 72 Metascore
    • 70 Critic Score
    The Flower Lane is arguably not as essential, nor quite as oddly memorable as previous collected Ducktails instalments, but it does appear to be a new phase of the band.
    • 69 Metascore
    • 70 Critic Score
    News From Nowhere marks a far more dramatic turn for them than North did in 2010.
    • 81 Metascore
    • 70 Critic Score
    The Man Who Died In His Boat is, to put it simply, more of the same--and whether that’s a worthy thing for an album to be is largely down to your view on this period of Grouper’s output. For what it’s worth, it’s absolutely fine by me.
    • 76 Metascore
    • 70 Critic Score
    AMOK isn’t quite dazzling, but it’s a clear improvement on its predecessor, and more than enough to win over old fans--and perhaps a few new ones, too.