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
    • 82 Metascore
    • 72 Critic Score
    The tension between revelation and ambiguity is echoed in the music, which avoids the easy, straightforward release of pop crescendos in favor of alternating textures and rhythms.
    • 82 Metascore
    • 92 Critic Score
    One might be a bit startled by how much, well, more broken this new [album] sounds. [#17, p.92]
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    • 82 Metascore
    • 82 Critic Score
    These songs would stand on thier own in terms of sound alone, but it's the addition of Bazan's thoughtful lyrics that make this perhaps his most powerful and interesting album thus far. [Summer 2009, p.94]
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    • 82 Metascore
    • 72 Critic Score
    From behind her kit, Adrienne Davies keeps slow-mo time as new member Karl Blau thickly kneads deep ribbons of rumbling bass that counter Dylan Carlson's stately, dark holler melodies. The new moon suits them well.
    • 82 Metascore
    • 80 Critic Score
    Amazingly, only a couple of times does the broadness of what is going on get in the way or misfire... and at album's end, you can look back in wonder at how in the hell a barrel of cartoon monkeys managed to pull it off again. [#15, p.93]
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    • 82 Metascore
    • 80 Critic Score
    The Dan Deacon machine returns from Bromst-land (relatively) leaner, (relatively) focused and (absolutely) teeming with sound.
    • 82 Metascore
    • 74 Critic Score
    Welcome back heavy bass and the practically patented echoing falsettos because John Dwyer’s mellow Putrifiers II mood is gone.
    • 82 Metascore
    • 74 Critic Score
    Kitsch aside, Amanda Palmer is one hell of a musician and lyricist, and this album, thankfully, makes good on its million-dollar expectations.
    • 82 Metascore
    • 74 Critic Score
    It’s a good look for him and an excellent return of the Mac.
    • 82 Metascore
    • 84 Critic Score
    The Monitor finds the New Jersey band swimming ina similar cesspool of whiskey and shit, with nothing but a proud hangover--and one hell of a record--to show for it. [Winter 2010, p.98]
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    • 82 Metascore
    • 84 Critic Score
    Just as you're really gearing up for a night on the town with Wolfgang Amadeus Phoenix as your sidekick, it ends abruptly. There's only one remedy: Play it again. And Again, And again. [Spring 2009, p.94]
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    • 82 Metascore
    • 80 Critic Score
    The only thing odd about this genuinely explosive record is in how fearlessly it expresses it's passion. [Winter 2008, p.94]
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    • 82 Metascore
    • 82 Critic Score
    The most direct album the band has ever assembled, Fade functions like one of the darker, LOL-averse episodes of comedian Louis C.K.’s eponymous show.
    • 82 Metascore
    • 82 Critic Score
    The true surprise, then, is not the feedback and guitar solos... it's the more pop-oriented structure and melodies. [#14, p.104]
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    • 82 Metascore
    • 90 Critic Score
    It is rare to come across a record that possesses such refinement and stylization, but The Seldom Seen Kid excels at both and was more than worth the wait. [Spring 2008, p.94]
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    • 82 Metascore
    • 76 Critic Score
    With each Atlas Sound release, the sonic effects become more interwoven, intense and impressive, and truly no one else could be writing these songs the way Cox does.
    • 82 Metascore
    • 64 Critic Score
    All is quite slick. It’s a touch proggy and bitter, but not without the piquancy of sauerkraut.
    • 82 Metascore
    • 68 Critic Score
    Admittedly, these are ideas not groundbreaking except in their delivery, which does have a rare, sobering effect upon the listener--a trademark effect of The Antlers.
    • 82 Metascore
    • 76 Critic Score
    Pissed Jeans satirize the languor of adulthood and unleash punk malice on unsuspecting targets.
    • 82 Metascore
    • 76 Critic Score
    Similar to its other releases, the band masters even the several lyric-less shorter tracks serving as musical intermissions scattered sporadically throughout.
    • 82 Metascore
    • 86 Critic Score
    Hip-shakingly good. [#14, p.98]
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    • 82 Metascore
    • 92 Critic Score
    This album's genuinely passionate without any sort of cheesy emotional transparency. [#6, p.81]
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    • 82 Metascore
    • 75 Critic Score
    Though not perfect, the New Pornographers are getting closer. [#5, p.87]
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    • 82 Metascore
    • 90 Critic Score
    Wildly alive, majestic and by turns brooding and raucous--often within the same song--The Stage Names burns with all the loneliness and adventure of a never-ending road trip.
    • 82 Metascore
    • 78 Critic Score
    Not content to simply cop post-punk aesthetics, these East London dread merchants are steeped in the sort dystopianism and apocalyptic anxiety that drove the likes of Killing Joke and The Banshees to such dizzying heights of foreboding.
    • 82 Metascore
    • 82 Critic Score
    Fey, agonized chamber pop at its most tortuously fetching. [#25, p.90]
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    • 82 Metascore
    • 83 Critic Score
    Some of the songs get a bit sleepy, though, and at times it's like listening to a less insightful Leonard Cohen. [#5, p.92]
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    • 82 Metascore
    • 91 Critic Score
    Berninger sounds smart and witty; but above all else, he sounds like he really went for it this time. [#15, p.105]
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    • 82 Metascore
    • 84 Critic Score
    There was always a sense that, if given wings, the songs would soar to empyrean reaches. And this live, symphonic recording with the Danish National Chamber Orchestra bears that out to dazzling and devastating effect.
    • 82 Metascore
    • 80 Critic Score
    While topping Smoke Ring outright nearly seemed insurmountable, Daze is (at an impossibly neat 70 minutes) a larger, more diverse and heavier experience.