Filter's Scores

  • Music
For 1,802 reviews, this publication has graded:
  • 71% higher than the average critic
  • 3% same as the average critic
  • 26% lower than the average critic
On average, this publication grades 3.4 points higher than other critics. (0-100 point scale)
Average Music review score: 75
Highest review score: 96 I'm Wide Awake, It's Morning
Lowest review score: 10 Drum's Not Dead
Score distribution:
1,802 music reviews
    • 79 Metascore
    • 85 Critic Score
    The music is so completely absorbing and evocative... it's possible to virtually recreate the film in your head. [#7, p.93]
    • Filter
    • 74 Metascore
    • 85 Critic Score
    Even though it's more than good, you eventually find yourself thumbing through your CD piles in search of that first record. [#7, p.87]
    • Filter
    • 64 Metascore
    • 85 Critic Score
    The album is overflowing with modern day punk-pop anthems, dressed up with technological marvels and justifiably bleak outlooks. [#5, p.89]
    • Filter
    • 78 Metascore
    • 85 Critic Score
    One of the most successful sonic experiments this side of "Let there be light." [#6, p.82]
    • Filter
    • 60 Metascore
    • 84 Critic Score
    Tricky hasn't planted his flag on any new territory, but he has gotten a stronger grasp of what has made him such an intriguing and important artist in the last decade. [#6, p.90]
    • Filter
    • 74 Metascore
    • 84 Critic Score
    Dear Heather, while slow and deep like all of Cohen's albums, carries its own rich surprises. [#13, p.95]
    • Filter
    • 74 Metascore
    • 84 Critic Score
    Despite the '80s tag and influences worn plainly on sleeves, Phoenix always come across strangely earnest and never cheesy. [#11, p.98]
    • Filter
    • 65 Metascore
    • 84 Critic Score
    There's a chunk of empathy lodged between the many splurges of drool-dripping, volume-blasting guitar wankery. [#5, p.88]
    • Filter
    • 68 Metascore
    • 84 Critic Score
    A choice specimen of audio sophisitication. [#9, p.106]
    • Filter
    • 66 Metascore
    • 84 Critic Score
    Infectious. [#11, p.98]
    • Filter
    • 71 Metascore
    • 84 Critic Score
    The irony is that the closer Reed gets to his present material, the more alive it becomes. [#10, p.87]
    • Filter
    • 78 Metascore
    • 84 Critic Score
    Acoustic guitars, violin, vibes and brush stroked drums all help maintain this steady mellow tone that's about as comforting as a warm bath after three sleepless days of jetlag. [#8, p.106]
    • Filter
    • 62 Metascore
    • 84 Critic Score
    [Van Dyke] Parks' masterful touch transforms the Thrills from barroom favorites to starry-eyed chancers with a shot at the big time. [#12, p.105]
    • Filter
    • 77 Metascore
    • 84 Critic Score
    It literally sounds like the Strokes, but it lacks heart. Which means it replicates the first album in form, but not substance. [#8, p.100]
    • Filter
    • 75 Metascore
    • 84 Critic Score
    It's simple, easy listening. [#11, p.98]
    • Filter
    • 68 Metascore
    • 84 Critic Score
    Its sounds are equally rich and emotive, just not as goblin-esque [as Contino Sessions]. [#5, p.91]
    • Filter
    • 84 Metascore
    • 84 Critic Score
    With honeyed vocals and the tender touch of acoustic guitar, he is already showing signs of songcraft perfection on his second LP. [#9, p.109]
    • Filter
    • 87 Metascore
    • 84 Critic Score
    Try as you might, there's no pushin it out. [#12, p.101]
    • Filter
    • 80 Metascore
    • 84 Critic Score
    The collection is over too soon, but not without a perfect conclusion. [#14, p.103]
    • Filter
    • 72 Metascore
    • 84 Critic Score
    Where it seemed the individual songs on Danse Macabre filled out and stretched the seams of its pop confines, Wet From Birth proposes a more intricate and ambitious space. [#12, p.93]
    • Filter
    • 73 Metascore
    • 84 Critic Score
    In both theme and effect, DiFranco's latest is about the reassurance in chronicling minutiae. [#14, p.100]
    • Filter
    • 70 Metascore
    • 84 Critic Score
    The rare album that works smoking alone, engaged in a postprandial conversation, or sharing a cigarette and scotch with a friend. [#14, p.101]
    • Filter
    • 81 Metascore
    • 84 Critic Score
    The tunes are almost more like short stage scenes than mere songs about people, but the band does well to prevent them from coming off as cheesy allegories so that even the illiterate boors out there can enjoy their downright pretty moments. [#15, p.101]
    • Filter
    • 78 Metascore
    • 84 Critic Score
    Taken on its own, any one of these songs is pretty good--and some are really good--but Lullabies to Paralyze is held prostrate by an overall lack of variety not made up for by kitsch or vigor. [#14, p.94]
    • Filter
    • 76 Metascore
    • 84 Critic Score
    Open Season opts for simplicity, its plainest moments being its most transcendent, and for the most part, it carries you along. [#15, p.92]
    • Filter
    • 71 Metascore
    • 84 Critic Score
    While you may see Hot Hot Heat as you want to see them--a one trick pony who turned their backs on their noise roots--we see them as a band more than capable of evolution and growth and mature songwriting. [#15, p.92]
    • Filter
    • 88 Metascore
    • 84 Critic Score
    The stunning One Beat of 2002 is a tough act to follow, and The Woods pulls it off soundly (though not exceedingly) by slicing together another improbable mash of grace and chaos all in the service of elaborately unhinged melodies. [#15, p.95]
    • Filter
    • 78 Metascore
    • 84 Critic Score
    Of the three Stephen Malkmus solo albums, this is the one that sounds the most like Pavement. [#15, p.91]
    • Filter
    • 73 Metascore
    • 84 Critic Score
    Feels exactly like a dance-less, British-not-Scottish Franz Ferdinand who have been deeply infused with Sgt. Peppers' '60s pop whimsy. [#16, p.90]
    • Filter
    • 74 Metascore
    • 84 Critic Score
    The duo has not lost their touch for writing memorable tunes. [#16, p.92]
    • Filter