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: 71
Highest review score: 100 Summer Make Good
Lowest review score: 10 Underwater Cinematographer
Score distribution:
  1. Negative: 12 out of 403
403 music reviews
    • 92 Metascore
    • 100 Critic Score
    Corner's gutter low ends, amphetamine drum programming, and Dizzee's cockney slang-spitting place this record among rap's paradigmatic moments.
    • 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.
    • 91 Metascore
    • 100 Critic Score
    On A Grand, everything Skinner does is in service to an infinitely satisfying and resonant whole.
    • 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.
    • 90 Metascore
    • 90 Critic Score
    Like The Fiery Furnaces' Gallowsbird Park, or Interpol's Turn On The Bright Lights, Funeral is a debut record that simply refuses to be ignored.
    • 89 Metascore
    • 90 Critic Score
    An album that's both effortlessly confident of its sound and monumentally fearless of introducing cohesive surprises.
    • 89 Metascore
    • 90 Critic Score
    Halfway through the album, it's clear that this is a glimpse into the future of pop music.
    • 89 Metascore
    • 70 Critic Score
    What worries me about the obviously talented Junior Boys is their tendency to round their corners. The music is so safe, so pleasant; it's not hard to imagine it in the Starbucks CD rotation without raising an eyebrow.
    • 89 Metascore
    • 80 Critic Score
    Perhaps the best overall representation of Belle and Sebastian’s distinctive brand of indie pop.
    • 88 Metascore
    • 90 Critic Score
    The 10 tracks are hands down the most irresistible pop music you'll hear this year.
    • 88 Metascore
    • 90 Critic Score
    Better than anything they've recorded to date, Hypermagic Mountain approximates the swelling energy of Lightning Bolt's live havoc.
    • 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.
    • 88 Metascore
    • 90 Critic Score
    Although an extreme statement, it is a major stylistic step forward for the band and pays off great dividends to those so inclined to follow them into The Woods.
    • 88 Metascore
    • 80 Critic Score
    Cave's songwriting chops and incisive lyrics have, if anything, grown stronger.
    • 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.
    • 87 Metascore
    • 80 Critic Score
    Guthrie successfully matches his idiosyncratic lyrics with subtle, layered arrangements lush with strings, crisp guitars, and shifting song structures as likely to burst into anthem or lilt towards confession.
    • 87 Metascore
    • 75 Critic Score
    What sets Franz Ferdinand apart is their unapologetic adherence to the pop formula.
    • 87 Metascore
    • 100 Critic Score
    Worthy of any superlative you can throw its way.
    • 87 Metascore
    • 75 Critic Score
    It is Stevens' creepier qualities that make him a cut above the average singer-songwriter.
    • 87 Metascore
    • 100 Critic Score
    It is every bit the equal of recent pop classics like the Flaming Lips' The Soft Bulletin, Neutral Milk Hotel's In The Aeroplane Over The Sea, or The Shins' Oh, Inverted World.
    • 86 Metascore
    • 100 Critic Score
    There's nothing Herren can't and won't do on this record.
    • 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
    • 50 Critic Score
    The mish-mash of moods and modes leaves little from which to gather a theme.
    • 86 Metascore
    • 90 Critic Score
    You really don't know what you're dealing with until you sit down and take in the freewheeling beauty of one of the year's best.
    • 86 Metascore
    • 100 Critic Score
    An exceptional testament to James Murphy, both as a musician and producer.
    • 86 Metascore
    • 80 Critic Score
    By album's end, two coming-of-age stories are complete: the boy has grown into a black sheep man, and the literate musicians have become a hell of a rock band.
    • 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.
    • 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.
    • 85 Metascore
    • 80 Critic Score
    Possessing a richly elastic set of vocal chords, Bird is in league with such silver-throated singers as Jeff Buckley and Rufus Wainwright, but he rarely if ever over-emotes, a common criticism leveled at Buckley and Wainwright.
    • 85 Metascore
    • 80 Critic Score
    Stripped down and folky... there's no denying Oberst's presence as a major artist who continues to evolve and explore his craft with each release.
    • 85 Metascore
    • 80 Critic Score
    The subtle mix of acoustic instruments with warm electric washes gives Holopaw's songs a surprising amount of depth.
    • 85 Metascore
    • 90 Critic Score
    There's just a little more space on this record for the songs to build and breathe. Twin Cinema is the first New Pornographers record you'll want to sit through from beginning to end.
    • 85 Metascore
    • 90 Critic Score
    Happy Songs is epic and subtle, technically savvy and emotionally charged and visceral all at once -- in short, it's a summary of everything that is great about Mogwai's music.
    • 85 Metascore
    • 80 Critic Score
    [A] sonic sheen (and the punchy rhythm section) gives the songs an immediacy that the previous reunion records have lacked.
    • 85 Metascore
    • 70 Critic Score
    The years are beginning to show on Smith, especially on the opener, "Green Eyed Locoman," but his backing band hasn't sounded this energetic and enthusiastic in years.
    • 85 Metascore
    • 80 Critic Score
    A bipolar rock opera for the ages.
    • 85 Metascore
    • 75 Critic Score
    Albini captures a recording full of heart, a sound quiet and full, rough and clear.
    • 85 Metascore
    • 80 Critic Score
    Lookaftering sees her trading the overly twee vibe of her debut for a darker, more mysterious and mature sound.
    • 84 Metascore
    • 100 Critic Score
    There have been releases that have excited me so far, but none that have completely recharged my faith in intelligent rock music. This is the first essential album of the year.
    • 84 Metascore
    • 80 Critic Score
    Comets on Fire have also learned to harness their dynamic range, an important step for a band that pummels the listener with a seemingly unending freakout.
    • 84 Metascore
    • 100 Critic Score
    The album, impressive in its scope and sense of adventure, is a further reinvention in Björk's already massive discography.
    • 84 Metascore
    • 60 Critic Score
    When the compositions behind the words are as dull and lifeless as the album's core ("This Bum's Paid" and "Hair Dude, You're Stepping on my Mystique") the results are utterly disastrous, relying too heavily on tried dissonance over unimpressively staid tempos.
    • 84 Metascore
    • 100 Critic Score
    Although Lost and Safe would be a crowning achievement for any band, The Books show no sign of running out of beautiful musical ideas to convey.
    • 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.
    • 84 Metascore
    • 100 Critic Score
    All eleven songs on Gimme Fiction are immaculately crafted, concise pop gems.
    • 84 Metascore
    • 80 Critic Score
    It's on the sonic departures, though, that Feels strikes its most resonant chord.
    • 84 Metascore
    • 90 Critic Score
    Lidell has created an album of flawless, imaginative, and radical funk grooves.
    • 84 Metascore
    • 60 Critic Score
    As you're listening, the songs begin to sound more and more like play-acting, as if Malin's trying to sound like his heroes more than he's trying to create anything that's all his own.
    • 84 Metascore
    • 88 Critic Score
    The group's cohesion is the cornerstone of the album; no one instrument stands out, while each contributes equally to the whole. And it's the trio's loose arrangements and subtle interplay that leave center stage to the thoughtful and provocative lyrics.
    • 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.
    • 83 Metascore
    • 88 Critic Score
    It has an appealing gentle earnestness that most pop music lost somewhere in the past few decades.
    • 83 Metascore
    • 80 Critic Score
    Their sturdy, inventive debut, Apologies to the Queen Mary, draws further, fresh blood from the indie rock stone.
    • 83 Metascore
    • 70 Critic Score
    Faking the Books loses some momentum beneath a glut of precious, minimal electro-ballads that dot the album.... But the album succeeds brilliantly on the louder numbers.
    • 83 Metascore
    • 63 Critic Score
    So New York. So everything. So new. But yet, so much like the hippies saying, "Man, if we could only get Nixon to smoke pot, then we'd have world peace, man."
    • 83 Metascore
    • 80 Critic Score
    But despite its flaws, or perhaps because of them, this remains organic folk-pop at its bewildering best.
    • 83 Metascore
    • 80 Critic Score
    This is a great band's most fully realized and mature album in a career already dotted with highpoints.
    • 83 Metascore
    • 70 Critic Score
    A good album that finds Oldham retreating from the layered solemnity of his most recent releases in favor of a mood that is as intimate and delicate as it is bittersweet and biting.
    • 83 Metascore
    • 80 Critic Score
    Part of the reason this record succeeds is that they haven't tried to replace Coxon, but rather rely on their remaining strengths like inventiveness and songcraft.
    • 83 Metascore
    • 80 Critic Score
    The Sunset Tree may just be The Mountain Goats's most poetic, coherent work.
    • 83 Metascore
    • 90 Critic Score
    A record of remarkable beauty.
    • 82 Metascore
    • 70 Critic Score
    The abject despair of The Mess We Made can become tedious, and, more than most artists, Elliott depends on a listener who is willing forgive him his lack of subtlety.
    • 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.
    • 82 Metascore
    • 70 Critic Score
    Bright Yellow Bright Orange is a much better album than Friends of Rachel Worth primarily because it largely abandons the formers' modern rock ambitions for a reflective and more natural folk-rock sound.
    • 82 Metascore
    • 70 Critic Score
    There's a layered, almost psychedelic feel to a lot of these songs, suggesting that Beam may not be the died-in-the-wool folkie some might have pegged him as.
    • 82 Metascore
    • 80 Critic Score
    The record's disparate experiments are unified by an overriding darkness, the black light Albarn shines on the dancehall. It's this unusual tone that makes Demon Days intriguing long after it's ceased to be novel.
    • 82 Metascore
    • 60 Critic Score
    You're a Woman, I'm a Machine might be the best party record on this side of '79 that your local abandoned warehouse has ever seen.
    • 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.
    • 82 Metascore
    • 80 Critic Score
    The album is harsher, darker, and just plain louder than Low have ever been in their 10-year career.
    • 82 Metascore
    • 100 Critic Score
    A luminously lovely solo album.
    • 82 Metascore
    • 90 Critic Score
    A stunning bit of psychedelic folk-rock.
    • 82 Metascore
    • 100 Critic Score
    Love Songs for Patriots picks up exactly where American Music Club last left us: producing uniformly excellent music filled with heartbreak, loneliness, and - yes - politics.
    • 82 Metascore
    • 90 Critic Score
    De-Loused in the Comatorium is a musical gem that captures the soul of Mars Volta in a way that soundly delivers on the hype.
    • 82 Metascore
    • 90 Critic Score
    It's every bit as good, if not better, than their first.
    • 82 Metascore
    • 80 Critic Score
    Part of the problem with Alligator is that it echoes so many other records, but part of its satisfaction is that it sets itself apart so well.
    • 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.
    • 82 Metascore
    • 100 Critic Score
    These are songs about horrible times in horrible lives; hearts are rotten long before they break and the sounds they make are awful and haunting and beautiful.
    • 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
    • 88 Critic Score
    While all of the sounds that made their debut so compelling are in place here, Broadcast has also branched out, employing a looser approach to strong structure.
    • 82 Metascore
    • 80 Critic Score
    [Kasher's] ability to toss off seemingly effortless melodic hooks makes one wonder just what kind of water is in Saddle Creek.
    • 81 Metascore
    • 70 Critic Score
    30 minutes of bluesy punk-rock raunch.
    • 81 Metascore
    • 80 Critic Score
    It might not be the underground hip-hop record of the year, but it is easily on the short list.
    • 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.
    • 81 Metascore
    • 75 Critic Score
    Unfortunately the band sometimes overdoes the sweetness and ends up being too precious.
    • 81 Metascore
    • 80 Critic Score
    Aside from the added guitar riffs and post-punk tones, Stars stick with a lush string section and neatly placed horns throughout, and their romantic appeal stays largely intact.
    • 81 Metascore
    • 80 Critic Score
    Snaith simply dictates the flow of emotions and events on this record, with the kind of command presence rarely seen.
    • 81 Metascore
    • 80 Critic Score
    Tanglewood Numbers, musically at least, is Berman's most fully realized album.
    • 81 Metascore
    • 60 Critic Score
    An uneven mish-mash of musical ideas that is only occasionally thrilling.
    • 81 Metascore
    • 60 Critic Score
    On songs like "In the Afternoon" and "Time is Running out," Maclean fails to add even a shred of feeling to his chilly IDM clones.
    • 81 Metascore
    • 80 Critic Score
    The flaws in A Ghost is Born are almost as interesting as the album's considerable triumphs.
    • 80 Metascore
    • 75 Critic Score
    Fans of dream pop and chamber pop alike will find a lot to enjoy on this one.
    • 80 Metascore
    • 75 Critic Score
    Are you worn out by your Travis and Coldplay CD's? In the market for some new Brit-Pop? Clearlake creates songs with equally appealing melodies to the aforementioned bands, while eschewing the relentlessly anthemic quality that occasionally mires the genre.
    • 80 Metascore
    • 80 Critic Score
    Humming By The Flowered Vine takes the rootsy sounds of classic country music (incorporating Hank Williams, Lucinda Williams and everyone in between) and plops them smack dab in the middle of Manhattan.
    • 80 Metascore
    • 80 Critic Score
    Suckfish is pure audio porn.
    • 80 Metascore
    • 80 Critic Score
    It's a crackling, concise collection.
    • 80 Metascore
    • 75 Critic Score
    Sonically, it's well-tempered between its beat-driven and its acoustic pieces; lyrically, a unique, personal pain drips out from Stewart's whispered vocals, providing the driving force of Muscles' challenging, diverse ensemble.
    • 80 Metascore
    • 90 Critic Score
    Malkmus' songwriting is back from blandland, the backing Jicks rock, and the production got it all on tape without screwing it up.
    • 80 Metascore
    • 80 Critic Score
    The Wedding is a worthwhile gamble and a record like no other in the Oneida catalogue. Which, come to think of it, makes it a lot like every other Oneida record.
    • 80 Metascore
    • 80 Critic Score
    Some songs are sloppily stretched out and others simply half-finished, but the ample charms of Doherty and Barat are just enough to rescue any of these lows.
    • 80 Metascore
    • 100 Critic Score
    A true supergroup -- a set of songs that might be superior to either group's work separately.
    • 80 Metascore
    • 70 Critic Score
    Awfully Deep, on the whole, is a bold, ambitious swing for the fences. But, like it or not, the game's done changed, and Manuva '05 sounds way too much like Manuva '01.