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 3.2 points higher than other critics. (0-100 point scale)
Average Music review score: 75
Highest review score: 96 Complete
Lowest review score: 10 Drum's Not Dead
Score distribution:
1801 music reviews
    • 83 Metascore
    • 52 Critic Score
    Mastodon's most accessible album to date finds the ATL-iens as unfocused as ever--and out of gas.
    • 69 Metascore
    • 52 Critic Score
    It's somewhere between impressive and impressionistic how Glover inhabits each style, but pit between street chaff and crooner cheese, between respect and restless imitation, one can't help but wonder where all of Glover's talent is headed.
    • 68 Metascore
    • 52 Critic Score
    Ranaldo and his band are unparalleled musicians but have fallen prey to a disaster that normally besets younger bands--a great sound and nothing said.
    • 80 Metascore
    • 50 Critic Score
    A double album slough of easy listening instrumentals. [combined review of both discs; #9, p.108]
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    • 79 Metascore
    • 50 Critic Score
    Gone are the fun hooks of [Nixon], and the genre jumping majesty of 1999's What Another Man Spills. [combined review of both discs; #9, p.108]
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    • 74 Metascore
    • 50 Critic Score
    You want to praise them for their attempts to define a unique voice, but a unique voice isn't necessarily an interesting one. [#11, p.96]
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    • 61 Metascore
    • 50 Critic Score
    A high-pitched punky mess. [#16, p.103]
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    • 61 Metascore
    • 50 Critic Score
    We've heard this swaggering, fumbling funk before from Kool Keith's gazillion other alter-egos. [#21, p.98]
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    • 71 Metascore
    • 50 Critic Score
    The Sword akes the safe, oddly paradoxical decision to stay off the cutting edge. [Winter 2008, p.97]
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    • 57 Metascore
    • 50 Critic Score
    It may sometimes sparkle, but it never shines. [Spring 2008, p.102]
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    • 75 Metascore
    • 50 Critic Score
    Five of the songs don't feature Lanegan's vocals, and when Willy Mason shows up to sing two of them, it's a wonder why Hawk wasn't more truthfully labeled as "Isobel Campbell & Friends." Thematically deficient throughout, this is an outtakes release at best.
    • 61 Metascore
    • 50 Critic Score
    While Senior is sometimes reminiscent of Royksopp's stellar 2001 debut Melody A.M., it also feels like a poor man's attempt at an Air record.
    • 73 Metascore
    • 50 Critic Score
    While bombastic and ambitious as ever, Tao suggests that Trail of Dead have once again lost the taste for subtlety and texture that's past served to elevate their sound from the prog pack.
    • 78 Metascore
    • 50 Critic Score
    Instead, the religiosity that infuses the music recalls the forced eagerness of modern day evangelicals and the predictable plainness of suburban mega-churches. Only dedicated fans need ascend.
    • 68 Metascore
    • 50 Critic Score
    Not one drop of Dracula is dance-friendly. In fact, it sounds just as disparate as the last Nurses effort.
    • 70 Metascore
    • 50 Critic Score
    Modern Art remains behind the veil, smoke and mirrors of nostalgia-not wholly accessible to audiences, modern or otherwise.
    • 72 Metascore
    • 50 Critic Score
    The Soft Moon's sophomore album Zeroes is an experimentation in industrial sound that doesn't fully hit the mark.
    • 71 Metascore
    • 50 Critic Score
    Unfocused and uninspired, Machineries lacks the sprawling majesty and well-forged hooks of earlier efforts.
    • 59 Metascore
    • 50 Critic Score
    Chris Martin’s voice is unremarkable but inoffensive on the non-instrumentals, and while some of Cosy’s tones are satisfying, they don’t redeem its shortcomings.
    • 69 Metascore
    • 50 Critic Score
    Back To Forever strives for mainstream acceptance, and in doing so dilutes Lissie’s strengths.
    • 72 Metascore
    • 48 Critic Score
    Feathers isn't a bad album, just one without a discernable look--or hook. [#14, p.99]
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    • 67 Metascore
    • 48 Critic Score
    A touchy-feely orgy better left spooning in its afterglow 10 years previous when the feeling was still fresh. [#21, p.96]
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    • 77 Metascore
    • 48 Critic Score
    Weller unveils an indulgent 21-track, hit-or-miss collection that has a scope, ambition and jazzy undercurrent which suggests Pete Townshend slumming in Vegas. [Summer 2008, p.98]
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    • 58 Metascore
    • 48 Critic Score
    Listening to this record, made me feel like the Andy Rooney of dance/electronic music. [Winter 2009, p.92]
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    • 68 Metascore
    • 48 Critic Score
    Amos said she wanted to reclaim the songs from religious appropriations, but in the end, she just barely save us all from complete shame. [Holiday 2009, p. 98]
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    • 56 Metascore
    • 48 Critic Score
    Ultimately, this collection is a series of album nearly-rans. This shouldn't undermine the songs, but it should reiterate how strong Weezer's records actually are (for the large part).
    • 73 Metascore
    • 48 Critic Score
    Nothing sticks on the LP, and the disc feels recycled, pedestrian and a bit exhausting--at best.
    • 65 Metascore
    • 46 Critic Score
    In the end, this record is frustrating. [#9, p.111]
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    • 78 Metascore
    • 46 Critic Score
    The best song is track 13, "Apology in Advance." It is still not that good. [#6, p.86]
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    • 67 Metascore
    • 46 Critic Score
    What the crap is this? [#17, p.94]
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