Junkmedia's Scores

  • Music
For 403 reviews, this publication has graded:
  • 53% higher than the average critic
  • 4% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 0.3 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 Hot Shit
Lowest review score: 10 Underwater Cinematographer
Score distribution:
  1. Negative: 12 out of 403
403 music reviews
    • 79 Metascore
    • 80 Critic Score
    May very well be Dirty Three's greatest accomplishment to date.
    • 75 Metascore
    • 80 Critic Score
    The Black Heart Procession is a truly original band, and Amore Del Tropico is a large stride forward for them, a reminder and a promise of their potential.
    • 75 Metascore
    • 80 Critic Score
    The results are far more interesting than one might imagine, revealing an album that is imminently accessible yet refreshingly unpredictable.
    • 71 Metascore
    • 80 Critic Score
    Sometimes evocative of Joy Division on PCP, sometimes of Arab on Radar on codeine, Ian MacKaye's production maintains the right balance of tin-can sounds with bullfrog disco stylings.
    • 80 Metascore
    • 80 Critic Score
    On a purely musical level, Twoism is more essential to me than 1998's well-known Music Has The Right to Children.
    • 75 Metascore
    • 80 Critic Score
    While there are programmed beats, ambient synths and samples aplenty to be found here, the overall vibe of this recording is one of a classic swinging session.
    • 70 Metascore
    • 80 Critic Score
    This is an absolutely satisfying listen and a feat of songwriting that few acts could match.
    • 82 Metascore
    • 80 Critic Score
    Fans will eat up this new record, as the songwriting rivals, and often exceeds, the best of Crooked Fingers' prior curious work.
    • 70 Metascore
    • 80 Critic Score
    Absolutely brutal.
    • 78 Metascore
    • 80 Critic Score
    Zedek somehow twists her troubled characters and haunting tunes into things of beauty.
    • 77 Metascore
    • 80 Critic Score
    Dents and Shells matches the intensity and concision of Impasse, while adding an organic, spontaneous feel to the proceedings.
    • 77 Metascore
    • 80 Critic Score
    The krang of album’s past seems more an afterthought as the band explores the natural textures of layered guitar and lumbering bass tracks.
    • 81 Metascore
    • 80 Critic Score
    The flaws in A Ghost is Born are almost as interesting as the album's considerable triumphs.
    • 92 Metascore
    • 80 Critic Score
    So the news is good. They didn't sell out, they didn't run out of ideas, and they were able to find still more places to yell "Whooo!" Go buy this now.
    • 86 Metascore
    • 80 Critic Score
    Quicksand/Cradlesnake establishes Califone as an ambitious band with the songwriting chops to back up its penchant for studio strangeness.
    • 86 Metascore
    • 80 Critic Score
    Sure, with so much to hear and such a range of styles, the album can take a couple of listens before it starts to bloom. That said, after these requisite spins, one can't help but admire how smoothly Feast of Wire glides from track to track, style to style.
    • 62 Metascore
    • 80 Critic Score
    Marrying a knack for hummable melodies to a much-needed dose of sincerity, The Hiss hammers their tunes home with a sense of urgency on par with their classic rock and Brit-pop idols.
    • 72 Metascore
    • 80 Critic Score
    Hotel Morgen serves as a blend of some of the more appealing aspects of both the electronic avant-garde and its more mainstream dance music wing.
    • 66 Metascore
    • 80 Critic Score
    fulfilled/complete is thoroughly compelling, until it reaches its closer, "The Dream," and becomes urgent, essential listening.
    • 79 Metascore
    • 80 Critic Score
    The New Year here occasionally let loose with a decidedly unreserved frenzy that is a joy to hear.
    • 85 Metascore
    • 80 Critic Score
    The subtle mix of acoustic instruments with warm electric washes gives Holopaw's songs a surprising amount of depth.
    • 78 Metascore
    • 80 Critic Score
    Repeated listens... reveal the album's complexity and highlight how far the band has come in the four years since their last release.
    • 82 Metascore
    • 80 Critic Score
    Fennesz does an excellent job of balancing the IDM portions of his sound with more challenging layers of material, making music that is both individual in approach and eminently pleasing to hear.
    • 82 Metascore
    • 80 Critic Score
    The album's last third slows to the glacial pace of 2001's Covers Record with underdeveloped song fragments rendered in a numbing, spare style. But the album's first half more than makes up for it with Marshall's inimitably concise songwriting painting roses on demons and frowning children alike.
    • 76 Metascore
    • 80 Critic Score
    Throwing Muses is an exhilarating ride that manages to marry the helter-skelter rhythmic pulse of the band's first few records with the poppier sensibilities of their nineties releases.
    • 76 Metascore
    • 80 Critic Score
    Somewhere between Beth Orton and Iron and Wine, Molina's music feels like it's been pulled direct from the surrounding air; a spring breeze given shape.
    • 73 Metascore
    • 80 Critic Score
    The main funk base of E's sound remains consistent but is augmented with harder rock and blues elements, showing he is able to hold onto his signature sound while simultaneously twisting a piece of rose-colored glass into it.
    • 71 Metascore
    • 80 Critic Score
    This is a headphone record of the highest order, where every last detail should be isolated against your ears and pored over.
    • 88 Metascore
    • 80 Critic Score
    Rejoicing in the Hands finds Banhart developing past his early lo-fi recordings in favor of a crisper, more succinct sound that highlights his intricate guitar picking.
    • 74 Metascore
    • 80 Critic Score
    The album cherry-picks the best songs from Farrrar's last few releases, and presents them in often superior form.