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 Complete
Lowest review score: 10 Drum's Not Dead
Score distribution:
1,802 music reviews
    • 85 Metascore
    • 92 Critic Score
    Decades beyond the point at which most of his peers peaked, Paul Simon is still discovering new ways of writing and conveying amazing work and discovering beautifully unexpected and often spiritual language, as well as new rhythms, melodies and instrumental textures.
    • 85 Metascore
    • 86 Critic Score
    Self-referential, poetic, spoken-sung performances in dirty beer halls, Midwest anthems that make everyone raise those beers in the beer halls. [Summer 2008, p.92]
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    • 85 Metascore
    • 93 Critic Score
    From a technical standpoint, it's astounding.... But from a purely aesthetic standpoint, it's just downright unmusical. [#5, p.86]
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    • 85 Metascore
    • 90 Critic Score
    Get Lost and stay lost.
    • 85 Metascore
    • 93 Critic Score
    No matter who appreciates or appropriates this music, who likes it or where you discover it, it is a testament to its power more than its populism.
    • 85 Metascore
    • 86 Critic Score
    One of the great pleasures of Twin Cinema is the way every morsel seems to have been scrutinized. [#17, p.96]
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    • 85 Metascore
    • 78 Critic Score
    It can be, and often is, dizzying to unpack the poetry, but it’s probably exactly the point from a brilliant, grieving mind full of verses, desperate to release them.
    • 85 Metascore
    • 94 Critic Score
    New Moon is Smith at his musical best: quiet, humble, and most of all, honest. [#25, p.96]
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    • 85 Metascore
    • 76 Critic Score
    Wild Beasts' Hayden Thorpe emotes like the forsaken son of Elbow's Guy Garvey and Antony. Thankfully, over the course of Smother, the English quartet proves they have the muscle to back up their lead singer's melodramatic warble.
    • 85 Metascore
    • 84 Critic Score
    Have One On Me is Newsom at her best: precious without being cloying, subtle without being indecipherable, beautifully written and sweetly played.
    • 85 Metascore
    • 93 Critic Score
    An Album this deep-hearted and digestible call out for mass-consumption. And the more people who hear this record, the better. [Spring 2009, p.90]
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    • 85 Metascore
    • 91 Critic Score
    It’s a nice cross-section of material that highlights why Pavement was such a darling of the alt press, but Quarantine fails to truly capture the greatness.
    • 85 Metascore
    • 86 Critic Score
    Despite its wandering parts and spacious production, Bitte Orca is a precise groove, almost medical in the way it delivers its complexity with such simple terms. [Spring 2009, p.100]
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    • 85 Metascore
    • 82 Critic Score
    A crisp-sounding, very coherent, vocally comprehensible collation of shapely, spirited power-pop-punk nuggets. [#11, p.93]
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    • 85 Metascore
    • 88 Critic Score
    It takes willpower and endurance to swim down these dark, dimly lit streams of misery. Even as a listener. [#11, p.98]
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    • 85 Metascore
    • 78 Critic Score
    To date, this is as close to their masterpiece, The Holy Bible, as they've ever come. [Fall 2009, p.92]
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    • 85 Metascore
    • 74 Critic Score
    There are experimental beauties, but Matthew Houck is at his best when he returns to familiar sounds.
    • 85 Metascore
    • 86 Critic Score
    They've trimmed away the electronic tinges and space-jazz tendencies of recent years, leaving us with a sharper, more focused Yo La Tengo. [#22, p.93]
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    • 85 Metascore
    • 84 Critic Score
    It remains instrumentally raucous, emotionally battered, and unaplogetically fun. [Winter 2009, p.100]
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    • 85 Metascore
    • 88 Critic Score
    Her countrified songs often begin as gothic lullabies, swallowed up in darkness and longing, as if the instruments themselves were suffering heartbreak. [#6, p.82]
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    • 85 Metascore
    • 76 Critic Score
    This is gospel-smacked, laidback music, tinseled by horns and strings and grounded in a big, big love.
    • 85 Metascore
    • 82 Critic Score
    With Before Today, Pink achieves congruence in the album's construction, but does so without sacrificing his peculiar flair. [Spring/Summer 2010, p.104]
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    • 85 Metascore
    • 91 Critic Score
    This is a rapturous, badass art-punk record that swaggers with as much heart as it does cockiness. [#5, p.87]
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    • 85 Metascore
    • 74 Critic Score
    His voice is as naive as ever, yet Wind’s Poem churns like nothing from his past, providing a therapeutic musical massage.
    • 85 Metascore
    • 76 Critic Score
    It's another album that can grow on listeners with repeated listens.
    • 84 Metascore
    • 82 Critic Score
    Kaputt's allure fills up glasses with the finest Chablis in a Nagel print–filled room, and lets Bejar's newfound status as King of Hi-Fi unfold in all of its cryptic finery.
    • 84 Metascore
    • 80 Critic Score
    Doubtless the closest she'll ever come to letting you dance in the madfields of her mind with her. [#12, p.94]
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    • 84 Metascore
    • 88 Critic Score
    It's this balance of aggression and harmony that make El-P so engaging--and Cancer for Cure so triumphant.
    • 84 Metascore
    • 84 Critic Score
    Like all good things—especially good byes—it comes to an end. And with that, Mr. Murphy goes out on top.
    • 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]
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