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 0.5 points lower than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 Medulla
Lowest review score: 10 Underwater Cinematographer
Score distribution:
  1. Negative: 12 out of 403
403 music reviews
    • 88 Metascore
    • 80 Critic Score
    Arular is what The Coup’s second record set out to be but wasn’t: Party Music, both for the warehouse hedonists and the basement dissidents.
    • 79 Metascore
    • 80 Critic Score
    Boards of Canada seems to be able to release albums pre-aged, so that all the things that might have bugged you a couple years ago now sounds like another part of why it's a classic.
    • 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.
    • 81 Metascore
    • 80 Critic Score
    While the music is as delicious and diverse as ever, the Decemberists' meal ticket is Meloy's unmatched lyrical prowess, which borders at times on mod-Shakespearean.
    • 78 Metascore
    • 80 Critic Score
    A more savage, flawless and impressive sound could not have emanated from these Austrian-born, Chicago-fed composers of laptop jazz.
    • 70 Metascore
    • 80 Critic Score
    A debut album so confident and flawlessly developed it seems more like the work of a band hitting its mid-career creative peak.
    • 79 Metascore
    • 80 Critic Score
    A beguiling blend of astute social commentary and first-rate music that rocks, weeps and testifies.
    • 77 Metascore
    • 80 Critic Score
    While In The Reins bears the unmistakable imprint of both Calexico and Iron and Wine, these collaborators donâ??t seem to be interested in playing it all that safe.
    • 86 Metascore
    • 80 Critic Score
    Sounding like a lost classic from Britain's 1979 art-punk scene, the Futureheads' debut is an assured masterpiece of twitchy, nervous pop.
    • 74 Metascore
    • 80 Critic Score
    If Blues isn't as immediately classic-sounding as Molina's 2003 pseudo-debut, it still harbors enough affecting songs to make you pause and admire the man's craft.
    • 84 Metascore
    • 80 Critic Score
    The album doesn't break any new ground for the band, but finds Burma at the top of its game, mixing artful music, intelligent lyrics and controlled sonic mayhem.
    • 73 Metascore
    • 80 Critic Score
    As with most things this conceptual, certain aesthetic sacrifices must be made. But Matthew Herbert is the remarkable musician, with his keen senses of rhythm and melody, who can pull off such an audacious ruse.
    • 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.
    • 76 Metascore
    • 80 Critic Score
    No Earthly Man demonstrates that all the glitz and studio production techniques used in making many records aren't really necessary to craft a compelling document.
    • 90 Metascore
    • 80 Critic Score
    My only problem with the album is that it begins to devour its own tail about halfway through, at times sounding tedious, or worse, precious.
    • 70 Metascore
    • 80 Critic Score
    Absolutely brutal.
    • 74 Metascore
    • 80 Critic Score
    Not Them, You is one of those rare records that rewards on both repeated listens and initial forays.
    • 66 Metascore
    • 80 Critic Score
    Throughout, Doe strikes just the right balance. He's confident but not arrogant; laid back, yet full of vitality.
    • 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.
    • 69 Metascore
    • 80 Critic Score
    More hypnotically dark gems.
    • 82 Metascore
    • 80 Critic Score
    The album is harsher, darker, and just plain louder than Low have ever been in their 10-year career.
    • 76 Metascore
    • 80 Critic Score
    Furthers the high concept lyrical talents of the group with an added twist: a more atmospheric, slightly new wave sensibility.
    • 80 Metascore
    • 80 Critic Score
    It's a crackling, concise collection.
    • 70 Metascore
    • 80 Critic Score
    While it feels like they're still finding their way and discovering what they're capable of, it's clear there's potential for greatness and longevity.
    • 82 Metascore
    • 80 Critic Score
    If you like your indie rock sweet and sophisticated with undertones of despair, you'll want to cuddle up with Universal Audio.
    • 76 Metascore
    • 80 Critic Score
    An essential addendum to the Galaxie 500 story.
    • 76 Metascore
    • 80 Critic Score
    Songs walk a delicate tightrope between the brain and the hips, and the libidinal release of the beat is denied, suggested, suppressed, and finally let loose to sweat it out.
    • 89 Metascore
    • 80 Critic Score
    Perhaps the best overall representation of Belle and Sebastian’s distinctive brand of indie pop.
    • 83 Metascore
    • 80 Critic Score
    Bright Ideas has an air of excitement and energy about it, and contains some of McCaughan's strongest songwriting to date.
    • 55 Metascore
    • 80 Critic Score
    Amber Headlights has clear thematic and structural parallels to the Afghan Whigs' excellent 1996 rock opera Black Love.