Filter's Scores

  • Music
For 1,801 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 3.1 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:
1801 music reviews
    • 57 Metascore
    • 58 Critic Score
    No longer satisfied with the kitchen disposal, Eats Darkness just goes ahead and throws in the kitchen sink, tractor, uprooted tree, and any other incongruous items it can find. [Summer 2009, p.96]
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    • 61 Metascore
    • 58 Critic Score
    The overall atmosphere is grey, too blah and insular to be colorful.
    • 65 Metascore
    • 58 Critic Score
    Yet as delectable as the melodies are, Sex with an X seems like it's all been done before--and in fact, we know that it has.
    • 70 Metascore
    • 58 Critic Score
    Caulfield continues to showcase some seriously well-crafted shifts between proggy meandering movements and pop hooks.
    • 77 Metascore
    • 58 Critic Score
    Special moments are few and far between. [#8, p.109]
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    • 73 Metascore
    • 58 Critic Score
    Although it toes a dangerous line of resounding too imitative of its own influences, the young producer is nonetheless well on his way to fully embracing his identity.
    • 75 Metascore
    • 58 Critic Score
    The reality is that Bitter Drink, Bitter Moon is the musical equivalent of a grape soda--it tastes familiar, but it's just not quite a grape.
    • 56 Metascore
    • 58 Critic Score
    The heavy-handed force of the latest effort to sonically disconstruct and reconstruct gets tiresome. [Spring 2009, p.103]
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    • 68 Metascore
    • 58 Critic Score
    The ruminative, skittering TVOTR rhythmic patterns distract from Miranda's strengths even with the occasional injections of some easy-breezy horn lines or soul-jazz keys. [Winter 2010, p.100]
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    • 72 Metascore
    • 58 Critic Score
    She never gets quite where she's going, but it's good to have her back.
    • 72 Metascore
    • 58 Critic Score
    The band is not exactly daytripping here and there is a great fervor in what they do, but the fruit is not quite ripe. [Summer 2009, p.102]
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    • 65 Metascore
    • 58 Critic Score
    It's a real coloring book of an idea, but too many crayons and a shaky hand have left the original images looking blurred.
    • 74 Metascore
    • 58 Critic Score
    Though “subdued” is a dirty word that’s thrown around a lot, in the case of the collection that comprises Get There, the duo shines bright when they pick up the pace.
    • 60 Metascore
    • 58 Critic Score
    An A.merican D.ream struts back into those alleyways, but devoid of any kind of humor.
    • 76 Metascore
    • 58 Critic Score
    The peaks aren't as emotionally devastating as his studio work, but there's a hushed desperation here that gradually leaches into your pores.
    • 68 Metascore
    • 58 Critic Score
    The result is an album that is altogether pleasant, but just doesn't do enough to distinguish itself on the map from the rest in its genre.
    • 55 Metascore
    • 58 Critic Score
    There are a few thrilling moments here—notably the cinematic ballad “Nothing”--but the band mostly flounders as it seeks a new direction.
    • 71 Metascore
    • 58 Critic Score
    Somewhere in the English to Japanese to...uh, English translation, the wonderful quirkiness inherent in their delivery and meaningless lyrics was misplaced. [Fall 2008, p.105]
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    • 61 Metascore
    • 58 Critic Score
    Vandervelde masterfully dresses singer-songwriter tunes that could exist just on acoustic guitar in beautiful studio psychedelics, but too often he lets his brillant sound palette subsitute for structural creativity. [Summer 2008, p.98]
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    • 68 Metascore
    • 58 Critic Score
    Blue Songs is a sophisticated and club-ready sophomore effort, even if--at times--it nearly crumbles under the weight of its own decadence and self-indulgences.
    • 63 Metascore
    • 58 Critic Score
    VII
    The band sounds more polished than ever, especially when they shed their folk roots, but the funky riffs (“Feel the Chill,” “Drive On Up”) owe more to Songs in the Key of Life than Highway 61 Revisited.
    • 65 Metascore
    • 58 Critic Score
    Their songs do run deeper than they seem, but you have to listen closely and push through fluff. It was cute the first time, but now it's just awkward. [Winter 2009, p.97]
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    • 52 Metascore
    • 58 Critic Score
    The album's lyrics feature mostly throwaway new-age drivel... and gut-wrenching despondency reduced to bored balladeering. Or just plain silliness. [#13, p.102]
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    • 63 Metascore
    • 58 Critic Score
    While the Malaysian songstress' charming vocals are easily the main attraction, Avi's unexpected stroll through different sonic territories-hopping from pop ("The Book of Morris Johnson") to R&B ("Concrete Wall") and reggae ("Roll Your Head In The Sun")--is a close second.
    • 79 Metascore
    • 58 Critic Score
    Pedestrian Verse is an album made up of melodies, lyrics and verses that are completely, well, pedestrian.
    • 69 Metascore
    • 58 Critic Score
    Despite some inspired guest contributions from A Sunny Day in Glasgow’s Jen Goma and Beirut’s Kelly Pratt, the raw guitar anthems from Belong are too often replaced by poppy fizz, toothless jangle and twee melancholia on Abandon.
    • 75 Metascore
    • 58 Critic Score
    The altered states of Cameron Stallones' latest Sun Araw effort Ancient Romans are an acquired taste.
    • 75 Metascore
    • 58 Critic Score
    There are no distinguishable hooks or chorus lines anywhere on Coming Apart; instead, it’s just Gordon and Nace simultaneously subverting and creating musical forms that will surely polarize listeners who want to “get it” and those who refuse to.
    • 77 Metascore
    • 58 Critic Score
    For all of the thought required, the album is still very natural and accessible.
    • 70 Metascore
    • 58 Critic Score
    It has stylistic cohesion on its side, even though that’s where it’s at its most derivative, but it’s like an antique firearm--it might look the part, but it’s not much good for shooting.