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.
    • 75 Metascore
    • 90 Critic Score
    This is evocative music. It’s beatific, charming, sophisticated and cool.
    • 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.
    • 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’’.
    • 82 Metascore
    • 90 Critic Score
    [His] most spellbinding LP to date.
    • 84 Metascore
    • 90 Critic Score
    Quite simply, this is the most invigorating album released in recent times and definitely one for the collection.
    • 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.
    • 88 Metascore
    • 90 Critic Score
    It’s as simple as songwriting can get; as striking as songwriting can get.
    • 97 Metascore
    • 90 Critic Score
    Perhaps the album of her career.
    • 74 Metascore
    • 90 Critic Score
    The Veils debut is a colossal - yet strangely intimate - record.
    • 83 Metascore
    • 90 Critic Score
    This is what you get when you give an overactive imagination the space to expand; it’s indescribably perfect.
    • 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.
    • 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.
    • 77 Metascore
    • 80 Critic Score
    Shows that Jon Langford’s voice has lost bite but gained growl.
    • 66 Metascore
    • 80 Critic Score
    Often you’re left amazed at the fact that this is the work of just one man.
    • 71 Metascore
    • 80 Critic Score
    This is uncommonly powerful music, created from common instruments.
    • 62 Metascore
    • 80 Critic Score
    There’s something here that most - if not all - will find thoroughly refreshing and enchanting.
    • 78 Metascore
    • 80 Critic Score
    It’s not so much that Electrelane’s signature film score sound has been replaced, more added to and built upon; becoming the veiled framework to a new - almost celebratory - level of contentment.
    • 77 Metascore
    • 80 Critic Score
    Striped of its proto-emo veneer this is sterling stuff, which - although fraught with angst - is run through with a mellow, humbling tone that is as infectious and accessible as it is true to hardcore’s staunch code of ethical values.
    • 78 Metascore
    • 80 Critic Score
    Young pretenders beware: this old dog isn’t so much learning new tricks as inventing them.
    • 66 Metascore
    • 80 Critic Score
    This is music best heard in the dark, on your back.
    • 55 Metascore
    • 80 Critic Score
    It’s gorgeous, moving and magnificent.
    • 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.
    • 74 Metascore
    • 80 Critic Score
    It’s Kweller’s lyrics and voice that do it though; joy and melancholy combined to deliver pop as uplifting as Weezer and rock that’s as unsubtle as Kings of Leon, with anti-folk and Merseybeat along for what is a thrill-filled ride.
    • 74 Metascore
    • 80 Critic Score
    This is like saddling up with a fearless, interdimensional astronaut; fasten your seat belts.
    • 73 Metascore
    • 80 Critic Score
    Felix Da Housecat’s shift into the wastelands of punk- funk and No Wave has given ‘Devin Dazzle And The Neon Fever’ the feel of an excursion into virgin territory.
    • 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.
    • 64 Metascore
    • 80 Critic Score
    There’s nothing even remotely punk-funk here, instead conventional structures are stretched, shattered and re-assembled.
    • 83 Metascore
    • 80 Critic Score
    Nothing less than a whole new world will do, and Adem has created just that.
    • 78 Metascore
    • 80 Critic Score
    His mumbled burr recalls that half-awake state where reality melts, a strain of Southern Gothic best listened to at 3am with a half-empty bottle of bourbon and all the lights on.
    • 66 Metascore
    • 80 Critic Score
    There’s plenty of impressive tongue-twisting here, but as the re-working of ‘Feel So Good’ illustrates, he’s even more impressive when he slips down a gear to work the ladies.
    • 80 Metascore
    • 80 Critic Score
    It’s ridiculously eclectic, yet uniformly affecting; a winter warmer that moves with a mysterious grace.
    • 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.
    • 82 Metascore
    • 80 Critic Score
    It will take at least ten listens before you hear everything that’s going on, and ten more to understand it, yet this is far from impenetrable; it boasts a melody line that any pop princess would sell her plastic soul for, and prompts the idea that Knopf and his cohorts have been hanging around a crossroads doing just the same.
    • 80 Metascore
    • 80 Critic Score
    This is a rock ‘n’ roll album in the same way that ‘Fun House’ was a rock ‘n’ roll album.
    • 71 Metascore
    • 80 Critic Score
    Catching electronica in it’s embryonic state and somehow fusing it together with lush folk stylings, weathered ambience and the slightest - most beautiful - trace of vocals ‘Summer Makes Good’ is a truly breath-taking record.
    • 62 Metascore
    • 80 Critic Score
    For the first time in nearly a decade Cypress Hill sound like they’re really enjoying themselves, just like they were in the beginning.
    • 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
    There’s no shortage of pogo anthems, reflective quiet and headspinning ideology, and never a dull moment.
    • 83 Metascore
    • 80 Critic Score
    If invention and imagination are the criteria to judge, this is a future classic.
    • 80 Metascore
    • 80 Critic Score
    This is deep, rich, slightly unnerving and very very beautiful music. [combined review of both discs]
    • 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.
    • 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.
    • 84 Metascore
    • 80 Critic Score
    Reveals Sam Beam to be a songwriter of exquisite talent and enviable inspiration.
    • 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.
    • 70 Metascore
    • 80 Critic Score
    At eighteen tracks it comes close to outstaying its welcome, but it doesn’t.
    • 71 Metascore
    • 80 Critic Score
    By far her best yet.
    • 87 Metascore
    • 80 Critic Score
    No affectation, no pandering to fashion, just good old fashioned rock ‘n’ roll. How refreshing.
    • 77 Metascore
    • 80 Critic Score
    The band's most accessible, blithe pop record to date.
    • 72 Metascore
    • 80 Critic Score
    Their most accomplished album to date.
    • 78 Metascore
    • 70 Critic Score
    A below par effort by their high standards.
    • 75 Metascore
    • 70 Critic Score
    Kidwell has distilled hip-hop into a brew that also contains trace elements of Nine Inch Nails, neo-goth noir and the finest Bristolian trip-hop, as well as the ever-present sonic manipulations that result from a very big iPod and a brain to match.
    • 81 Metascore
    • 70 Critic Score
    It sounds like he’s cherry-picked his record collection in an attempt to allow the listener a glimpse into his restless mind.
    • 75 Metascore
    • 70 Critic Score
    Pierce consistently avoids the disturbance of breakbeats and jump cuts, instead rolling the elements into a smooth melange of sound that references world, dance and folk music, yet transcends all.
    • 83 Metascore
    • 70 Critic Score
    ‘Secret Wars’ is an engaging 40 minutes; a haphazard, likely to spontaneously combust at any moment 40 minutes to be sure, but that was the ethic that spawned rock ‘n’ roll in the first place and in these hands there’s plenty of life in it yet.
    • 65 Metascore
    • 70 Critic Score
    ‘Liberation’ is the most damning indictment of the Bush administration yet recorded, and it’s all subliminal. Magnificent.
    • 75 Metascore
    • 70 Critic Score
    A collection of chaotic - yet charming - avant-pop rooted in Japanese culture both martial and precise, like letting blood in a rock garden.
    • 75 Metascore
    • 70 Critic Score
    Here their ambient electro is enhanced with a melange of influences that include soul, jazz and - a real winner this - Brazilian psychedelia.
    • 73 Metascore
    • 70 Critic Score
    A window into the sublime mind of one of Britain’s great outsiders.
    • 62 Metascore
    • 70 Critic Score
    Their third album finds them immersed in light-hearted, yet imaginative hop ‘n’ soul, Parliamentarian funk and the fiery chants of lead single ‘This Way’.
    • 78 Metascore
    • 70 Critic Score
    What does surprise is the way the results combine Clannad with Cocteau Twins.
    • 77 Metascore
    • 70 Critic Score
    Mirah’s ability to paste candy-pop nursery rhymes over voluptuous, macabre arrangements is truly unique and wholly un-matched.
    • 79 Metascore
    • 70 Critic Score
    Disco, punk and pop, all in one bag.
    • 71 Metascore
    • 70 Critic Score
    It’s worth ploughing through the strange to get to the beautiful, disturbing, fucked-up ‘Venus In Furs’ though, worth the full five stars all by itself.
    • 77 Metascore
    • 70 Critic Score
    His carefully constructed tales are accompanied by a warm intimacy, the folky-edge only reinforcing the emphasis on the stories.
    • 68 Metascore
    • 70 Critic Score
    ‘When It Falls’ is not an immediate album, it’s a slow burner and one day, after countless hours playing it in the background, you’ll hear something that makes you turn it up; that’s the moment that it hooks you.
    • 65 Metascore
    • 70 Critic Score
    Off-kilter, irreverent and unbelievably addictive.
    • 80 Metascore
    • 70 Critic Score
    ‘Tasty’, though haunted by more than a few sops to the slick-soul zeitgeist, is an impressive return.
    • 70 Metascore
    • 70 Critic Score
    A significant broadening of the tonal spectrum notwithstanding, the outfit manages to keep their ferocity intact, although the malevolence is structured with a shrewd infusion of melodic vocals, flourishing experimental dynamics and a motherlode of striking riffs.
    • 72 Metascore
    • 70 Critic Score
    Even a half good Morrissey album is streets ahead of the competition.
    • 67 Metascore
    • 60 Critic Score
    Unfortunately, many of these mixes were submitted either by talented fans or lesser known professionals, and often they’ve removed much more than they’ve put in.
    • 71 Metascore
    • 60 Critic Score
    Jules’ talents lie closer to the downhome folksiness of Cat Stevens, enlivened by an eye for detail previously thought the sole preserve of Elliott Smith.
    • 63 Metascore
    • 60 Critic Score
    It most probably won’t attract new fans, but Margo Timmins’ voice is as unique as Thalia Zedek’s, for example, and remains their greatest asset.
    • 56 Metascore
    • 60 Critic Score
    A confusing listen.
    • 80 Metascore
    • 60 Critic Score
    Unfortunately there are only flashes of Curtis breaking free of the overwhelming dominance of their prog tendencies. When used sparingly they are rich and absorbing, but in these instances they lack impact.
    • 78 Metascore
    • 50 Critic Score
    It’s all very strange yet thoroughly intriguing, but it does leave you pondering the question of what direction Ghost are planning to move in next.
    • 70 Metascore
    • 50 Critic Score
    This is a perplexing album: two excellent singles, a few stellar moments of vicious riffage, but little to assuage that lingering sense of emptiness.
    • 66 Metascore
    • 40 Critic Score
    There’s little in the way of straightforward rock here[;] instead they have opted to renege on their commitment to flat-four crunch and embrace melodicism...and experimentalism.
    • 49 Metascore
    • 40 Critic Score
    The trouble is, fine guitarist though he is, he too rarely demonstrates his skills, content to cruise on a simple melody.
    • 63 Metascore
    • 40 Critic Score
    The melancholy on offer barely gets above the level of sixth form poetry, and though Wilson tries to sound impassioned he comes across as strained.
    • 71 Metascore
    • 40 Critic Score
    Unfortunately, whereas sounding out of place in the late 90s worked in their favour, in the mid-noughties the lack of pretty faces, Converse Allstars and - perhaps most important of all - any half-decent tunes is unlikely to bring Gomez first prize even in their local pub’s battle of the bands.
    • 78 Metascore
    • 40 Critic Score
    Patchy at best.
    • 59 Metascore
    • 30 Critic Score
    Derivative and unfocused from every conceivable angle.
    • 75 Metascore
    • 20 Critic Score
    Horrid, mannered late Sixties-styled easy-listening wank.