Logo's Scores

  • Music
For 88 reviews, this publication has graded:
  • 65% higher than the average critic
  • 4% same as the average critic
  • 31% lower than the average critic
On average, this publication grades 2.1 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 Uh Huh Her
Lowest review score: 20 The Ladybug Transistor
Score distribution:
  1. Positive: 74 out of 88
  2. Negative: 2 out of 88
88 music reviews
    • 79 Metascore
    • 100 Critic Score
    From the start, she's made an ideal record for people who already like her.
    • 97 Metascore
    • 90 Critic Score
    Perhaps the album of her career.
    • 74 Metascore
    • 90 Critic Score
    So horribly untrendy it’s a new-black must-have, ‘Milk Man’ is the essential oddity of 2004, and a more-than-worthy successor to 2003’s magnificent ‘Apple O’’.
    • 83 Metascore
    • 90 Critic Score
    This is what you get when you give an overactive imagination the space to expand; it’s indescribably perfect.
    • 88 Metascore
    • 90 Critic Score
    It’s as simple as songwriting can get; as striking as songwriting can get.
    • 84 Metascore
    • 90 Critic Score
    Quite simply, this is the most invigorating album released in recent times and definitely one for the collection.
    • 74 Metascore
    • 90 Critic Score
    The Veils debut is a colossal - yet strangely intimate - record.
    • 82 Metascore
    • 90 Critic Score
    A taste for the exotic and a winning way with a winnowing hook leavens the most ear-shredding aural barrage, short-circuiting a connection between central nervous system and booty.
    • 70 Metascore
    • 90 Critic Score
    They’re the most unique band since The Van Pelt or At The Drive-In, with vocals comparable to the lyrical finesse of Tim Booth.
    • 82 Metascore
    • 90 Critic Score
    [His] most spellbinding LP to date.
    • 83 Metascore
    • 90 Critic Score
    Never happily slotting into any template demanded back in their home town, MM are nearer to some wondrous mish-mash of Pavement and Beck; closer in harmony to The Flaming Lips.
    • 81 Metascore
    • 90 Critic Score
    The key is - unlike the tongue-in-cheek cock-rock of The Darkness and the running joke of Electric Six - Scissor Sisters are reverential to the sounds of the 70’s.
    • 77 Metascore
    • 90 Critic Score
    The defining characteristic of ‘Happiness In Magazines’ isn’t its full sound, nor its sharp reminder of what a great band Blur used to be; its in the sheer imaginative scope.
    • 76 Metascore
    • 90 Critic Score
    Something new has been born here; its parents are every form of dance and many forms of rock, and it rolls.
    • 75 Metascore
    • 90 Critic Score
    This is evocative music. It’s beatific, charming, sophisticated and cool.
    • 79 Metascore
    • 80 Critic Score
    The names Pitchshifter, Nine Inch Nails and Rammstein are often bandied about in this company, but here’s a tip: Skinny Puppy have rendered them once again irrelevant.
    • 83 Metascore
    • 80 Critic Score
    There’s no shortage of pogo anthems, reflective quiet and headspinning ideology, and never a dull moment.
    • 71 Metascore
    • 80 Critic Score
    Bazan will never sound truly happy on record, but here he’s as content as anyone could have hoped for, and all the healthier for it.
    • 83 Metascore
    • 80 Critic Score
    Nothing less than a whole new world will do, and Adem has created just that.
    • 77 Metascore
    • 80 Critic Score
    Fragmented and disturbing, yet thoroughly refreshing.
    • 70 Metascore
    • 80 Critic Score
    It isn’t the place of a debut to straddle styles as diverse as harmony-drenched 60’s beat-soul, the shoegazing sound-paintings of the 80’s and relaxed futurism of now, yet this is their debut, and it covers all this and more.
    • 73 Metascore
    • 80 Critic Score
    Their country-sagged beat-focused rock remains, which, coupled with some sumptuous keys and Andy LeMaster’s notoriously unnerving range, reveal Now It’s Overhead’s startling magnetism.
    • 79 Metascore
    • 80 Critic Score
    ‘No You C’Mon’ is more schizophrenic but equally satisfying, ranging from dinner jazz to bursts of discordant piano boogie.
    • 70 Metascore
    • 80 Critic Score
    At eighteen tracks it comes close to outstaying its welcome, but it doesn’t.
    • 72 Metascore
    • 80 Critic Score
    A collection of frisky funk, slinky soul, raucous R&B and heated rock ‘n’ roll based on real songs, rather than the doodles and sketches that have recently become the norm.
    • 78 Metascore
    • 80 Critic Score
    Young pretenders beware: this old dog isn’t so much learning new tricks as inventing them.
    • 62 Metascore
    • 80 Critic Score
    Though Auf Der Maur has run off with their blueprint and built it as seen, there’s raw passion and no little class here; Corgan and Love must be rueing their luck.
    • 78 Metascore
    • 80 Critic Score
    Like an air-bushed Slint re-emerging with Stereolab as their chief influence, Blonde Redhead engulf their guitars beneath so many keyboard tinkerings.
    • 62 Metascore
    • 80 Critic Score
    There’s something here that most - if not all - will find thoroughly refreshing and enchanting.
    • 84 Metascore
    • 80 Critic Score
    Reveals Sam Beam to be a songwriter of exquisite talent and enviable inspiration.