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
    • 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.