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 3.4 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:
1,801 music reviews
    • 100 Metascore
    • 91 Critic Score
    So it turns out Cuomo was whispering apologies to his own artistry at this album's close -- it was his love of music he would let suffocate in a jar. No wonder he sounded so sad.
    • 100 Metascore
    • 94 Critic Score
    Everyone--yes, everyone--should buy this version of London Calling, because in this form, audio and video, it acts as a veritable design for living. [#12, p.96]
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    • 99 Metascore
    • 95 Critic Score
    Four decades on, and there has yet to be anything that hits on this kind of organic, brain-melting, structured psychosis.
    • 97 Metascore
    • 90 Critic Score
    Sound System drives home the foursome’s adeptness at boundary hopping, while never forgetting the value of a good hook and a politically righteous lyric.
    • 97 Metascore
    • 95 Critic Score
    One of the most inspiring and triumphant projects of the year, and perhaps the last 30 years. [#13, p.89]
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    • 96 Metascore
    • 93 Critic Score
    This box mingles an abundance of demos, alternative takes and other previously unreleased iterations of Big Star tunes amid sparsely retained original album versions. [Fall 2009, p.92]
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    • 96 Metascore
    • 93 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.
    • 93 Metascore
    • 88 Critic Score
    Raw, crunchy beats and ugly, monster flows delivered in a punk album format. [#9, p.110]
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    • 93 Metascore
    • 84 Critic Score
    The whole package is a head-snapping reminder that when R.E.M. was on fire, you couldn't put them out with all the water in the world.
    • 93 Metascore
    • 68 Critic Score
    Sure, the original album may still tickle your testes and get you off, but this boxed set is nothing more than a handjob without a happy ending.
    • 93 Metascore
    • 93 Critic Score
    Songs like these are why Nirvana was king and this show proves why the band was peerless. Suddenly Nirvana is everything to me all over again. [[Holiday 2009, p. 92]
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    • 93 Metascore
    • 94 Critic Score
    Achtung Baby is the last great U2 album and one of the best records ever made, but is this $150 six-CD, four-DVD 20th anniversary edition worth your time and money? Short answer: F--k yeah
    • 93 Metascore
    • 86 Critic Score
    This boxset--quite literally a suitcase--highlights four distinct sides of one of the most prolific icons of the pre-dylan era, and introduces both unreleased and released tracks to a new generation in themed installments. History is back in session. [Fall 2009, p.100]
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    • 92 Metascore
    • 80 Critic Score
    The second disc of this deluxe edition makes Brighten The Corners's faults more difficult to accept as hard truths. [Holiday 2008, p.98]
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    • 92 Metascore
    • 95 Critic Score
    Ignore whatever purist backlash you may encounter. In Channel Orange, we have been granted a truly classic document, perhaps the very first that feels synchronized with the present decade.
    • 92 Metascore
    • 94 Critic Score
    The landmark proto-punk album is refined at a decibel-defying rate while the outtakes highlight the grating guitars and Iggy's guttural vocals that trademarked the group's sound.
    • 90 Metascore
    • 91 Critic Score
    There is real joy and loss within these unwieldy song titles. [#16, p.88]
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    • 90 Metascore
    • 80 Critic Score
    While the synthesized sheen of '80s pop hasn't held up for everyone, even casual listeners will discover a new appreciation for the artist underneath superficiality and infamy.
    • 90 Metascore
    • 93 Critic Score
    Z
    Z is a great record--more expansive than its predecessors and less tunnel-visioned too. [#17, p.94]
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    • 89 Metascore
    • 84 Critic Score
    St. Vincent is buoyant in the way that the Hindenburg was—it floats along steadily and excitedly, but with a decisive coldness that suggests that something unexpected might happen.
    • 89 Metascore
    • 68 Critic Score
    For residents of the 21st centurey, the sound is not nearly as exotic [as it was in 1980]....However, what is particularly striking about this album is the players' ease and familarity, both with each other and with their instruments. [Winter 2010, p100]
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    • 89 Metascore
    • 93 Critic Score
    There aren't many dull points on this two-disc collection. [#16, p.93]
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    • 88 Metascore
    • 78 Critic Score
    Well into their fourth decade, with the aughts years spent in hibernation, Swans are still making records of brilliance and majesty.
    • 88 Metascore
    • 78 Critic Score
    Everything comes together, creating an album as deep and wide as the vistas it conjures up.
    • 88 Metascore
    • 62 Critic Score
    Dear Science has its moments, but these moments means less and weigh more. Pretty cool? Well, it's pretty alright. [Fall 2008, p.91]
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    • 88 Metascore
    • 94 Critic Score
    As an artistic achievement, it ranks incredibly high on the list of great postmodern statements. Here is a piece of music (but oh so much more) that proves that something new can be done, and it can be entirely engaging. [#21, p.92]
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    • 88 Metascore
    • 96 Critic Score
    It is, in effect, the only acceptable historical document of the nearly incomprehensible phenomenon that was The Smiths.
    • 88 Metascore
    • 91 Critic Score
    In context, Rubies [is] just another piece of the puzzle, but it's the finest jewel yet. [#19, p.99]
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    • 88 Metascore
    • 91 Critic Score
    Large and epic, but tense and claustrophobic as well, and gratefully, it's as close to Elliott as we've ever been. [#12, p.92]
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    • 88 Metascore
    • 84 Critic Score
    The stunning One Beat of 2002 is a tough act to follow, and The Woods pulls it off soundly (though not exceedingly) by slicing together another improbable mash of grace and chaos all in the service of elaborately unhinged melodies. [#15, p.95]
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    • 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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    • 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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    • 84 Metascore
    • 82 Critic Score
    By staying so true to Burma's superior style 20 years after it was emulated, it lacks the aura of innovation. [#10, p.90]
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    • 84 Metascore
    • 86 Critic Score
    The resulting album comes across, for the most part, as a peaceful, relaxing--if extremely weird--trip through a newfound musical slipstream. [Holiday 2009, p. 98]
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    • 84 Metascore
    • 90 Critic Score
    It's exactly the record that everyone hoped Spoon would make. [#15, p.98]
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    • 84 Metascore
    • 84 Critic Score
    It's cosmic Americana as once charted by Mercury Rev in the druggier days of yerself Is Steam and Boces. [#17, p.101]
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    • 84 Metascore
    • 40 Critic Score
    The songs on Ten actually sound shockingly more insufferable this far out of their original grunge context. [Winter 2009, p.97]
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    • 84 Metascore
    • 92 Critic Score
    Even when they’re forging new ground (which is often) or mixing it up with any of the aforementioned conversation points, they still manage to sound exactly like themselves.
    • 84 Metascore
    • 92 Critic Score
    The results are compact, near-pop micro-anthems. [#17, p.93]
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    • 84 Metascore
    • 80 Critic Score
    While Cronin’s musical expertise belies his age, the existential struggles about which he sings--fear of the world, distrust of love, lack of self-confidence--do not.
    • 84 Metascore
    • 74 Critic Score
    Visceral and immediate, if this album doesn’t make you feel something, at least we know it did to Ms. Case.
    • 84 Metascore
    • 78 Critic Score
    Within the 11 tracks that make up her third full-length, Olsen’s strong and matchless voice pierces through fuzzed out guitars and massive organ riffs, allowing us to burrow into her mind.