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
    • 88 Metascore
    • 88 Critic Score
    Lonerism is a dense slab, and much may resist exploration on the first 5, 10, or 20 listens, but the swaths that pass through even the most garbled neural net are nourishing enough to sustain a considerable journey.
    • 88 Metascore
    • 86 Critic Score
    Mellon Collie and the Infinite Sadness' triumphs far outweigh its failures. This impressive expanded edition drives that point home by giving insight into the record's rich gestational process.
    • 88 Metascore
    • 82 Critic Score
    This is not Cave's best work by any means, but these songs do showcase his impressive range as a lyricist, performer and musician. [#12, p.100]
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    • 87 Metascore
    • 92 Critic Score
    This is one of the quintessential L.A. albums, for its fireworks of fame and celebrity are stripped naked and left to wander. [Spring 2008, p.94]
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    • 87 Metascore
    • 84 Critic Score
    Try as you might, there's no pushin it out. [#12, p.101]
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    • 87 Metascore
    • 92 Critic Score
    Cave's themes remain unchanged, but his songcraft prowess continues to grow, aided by the finest instrumental backing and production of any Bad Seeds album to date. [Winter 2008, p.90]
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    • 87 Metascore
    • 74 Critic Score
    The collection has aged remarkably well.
    • 87 Metascore
    • 90 Critic Score
    From the propulsive 'What Would Wolves Do?' to the dub-styled 'Brace Yourself,' the album seems like something to play while driving across the desert at sunset, especially with all the wolf cries in the background from Islands’ Nicolas Thorburn.
    • 87 Metascore
    • 91 Critic Score
    Relentlessly sultry, with lush arrangements framed by slamming dance beats. [#9, p.102]
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    • 87 Metascore
    • 91 Critic Score
    Truly, there isn't anything here that comes close to achieving the anthemic, stomp-along, bombast of Funeral's best works. But this is a different album, and a different Arcade Fire playing to their biggest strength: emoting. [#24, p.88]
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    • 87 Metascore
    • 91 Critic Score
    These lovingly remastered and richly expanded editions of the Smashing Pumpkins 1991 debut Gish and 1993's mainstream breakthrough Siamese Dream soundly prove that the band's place in rock history is firmly cemented.
    • 86 Metascore
    • 78 Critic Score
    PJ Harvey always explodes possibility when she shreds convention and tradition. Thankfully, she does just that on this Anglo-centric head-trip.
    • 86 Metascore
    • 91 Critic Score
    They make heavy duty sound collages that rock, roll, and exemplify the increasingly small chasm between bliss and confusion. [#25, p.90]
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    • 86 Metascore
    • 82 Critic Score
    Hearing Van Etten’s performance on [Your Love Is Killing Me] and several others are downright shiver-inducing.
    • 86 Metascore
    • 92 Critic Score
    There's an organic component that coexists along with the machines, giving them a warmth few acts have been able to unearth. [#11, p.93]
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    • 86 Metascore
    • 84 Critic Score
    Butler and company have crafted a brilliant tribute to the glorious euphoria of getting down in the big city. [Summer 2008, p.96]
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    • 86 Metascore
    • 78 Critic Score
    It may be a bit heavy-handed, but it will no doubt thrill fans that probably assumed this day would never come.
    • 86 Metascore
    • 80 Critic Score
    He forges yet another new vision: one that involves psych rock, quirky funk and bossa nova as much as it does hip-hop and electronica. [#19, p.104]
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    • 86 Metascore
    • 80 Critic Score
    Attest[s] to the group's pummeling might off vinyl. [#16, p.87]
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    • 86 Metascore
    • 80 Critic Score
    Although the songs carry recurring tropes of eagles, devils and the sea, as well as her signature intricate guitar picking, the most haunting aspect is--considering this accomplishment--realizing the potential that is yet to come.
    • 86 Metascore
    • 90 Critic Score
    Bradford Cox's jagged, swirling atmospherics reach an apotheosis on this hazy but blissful offering.
    • 86 Metascore
    • 80 Critic Score
    That the group could go from the sneering jauntiness of 'Girls And Boys' to the paranoid anxiety of 'Song 2' with no drop in hook-effectiveness is startling in itself; that it managed to continuously and effortlessly navigate th incomprehensible expanse between The Kinks and Brian Eno is an utterly singular achievement. [Summer 2009, p.94]
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    • 86 Metascore
    • 86 Critic Score
    Here, the band has returned from the cold with a tight, extraordinary album that is lush and satisfying--yet still in the corners just a little bit sad.
    • 86 Metascore
    • 88 Critic Score
    The urgency of the music and the quality vocal and guitar hooks make this one of the best rock albums of the year. [#13, p.98]
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    • 86 Metascore
    • 78 Critic Score
    Not everything on Present Tense is a success, but the highs are truly high, even when they’re sad.
    • 86 Metascore
    • 90 Critic Score
    While Boxer lacks a knockout punch like last album’s 13th round uppercut “Mr. November,” all scorecards still have the National besting David Berman to remain indie rock’s “Great White Mope.”
    • 86 Metascore
    • 78 Critic Score
    The band may have switched the formula, but the solution still adds up.
    • 85 Metascore
    • 66 Critic Score
    The Knife’s sound and vision--and the members’ unrelenting oddness--seem to slightly buckle under the weight of their idealism.
    • 85 Metascore
    • 66 Critic Score
    Bush's return to recorded music is unexpected, sometimes distancing, weird and obdurate.
    • 85 Metascore
    • 96 Critic Score
    Simply a great record. [#14, p.95]
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