For 1,598 reviews, this publication has graded:
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62% higher than the average critic
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3% same as the average critic
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35% lower than the average critic
On average, this publication grades 0 points lower than other critics.
(0-100 point scale)
Average Music review score: 73
Highest review score: | Dear Science, | |
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Lowest review score: | The New Game |
Score distribution:
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Positive: 1,360 out of 1598
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Mixed: 176 out of 1598
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Negative: 62 out of 1598
1598
music
reviews
- By Date
- By Critic Score
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- Critic Score
With imagery haunted by death and lyrical allusions to alienation and angst, Avenged Sevenfold's fifth full-length is almost impossible to appreciate unless you fit the prime demographic: tormented teenage boys.- Los Angeles Times
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Klaxons, if you're going to shout in our ears a bunch, can you at least have something to say?- Los Angeles Times
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- Critic Score
As meticulously as these sounds and instruments are recorded, as beautiful and haunting as they sometimes sound, they don't add up to more than one or two truly memorable songs.- Los Angeles Times
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- Critic Score
It's unclear whether the creative languor stems from the inherent commercial pressure of being the Young Money meal ticket or whether Wayne has exhausted his ideas after compressing a career's worth of songs into three years.- Los Angeles Times
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Collins takes on 18 tracks in an outing as understandable as it is unnecessary, a high-priced karaoke spin for the ersatz prog-rock-percussionist-turned-master-of-the-'80s-pop-single.- Los Angeles Times
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- Critic Score
It's all familiar stuff - too familiar - to warrant sustained attention.- Los Angeles Times
- Posted Dec 23, 2010
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- Critic Score
Consider it a musical Snuggie for tottering Valley party girls--it will feel marvelous in the cold, drunken and lonely hours of the night.- Los Angeles Times
- Posted Dec 7, 2010
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- Critic Score
In glimpses it reaches that goal--like in maybe half of the sticky and finessed "Breaking Point"--but it's undone by the album's many other contradictory messages.- Los Angeles Times
- Posted Dec 21, 2010
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The King Is Dead clings so closely to formula that it doesn't sound like homage or even truth; it sounds like the studious but unconvincing work of an extremely gifted mimic.- Los Angeles Times
- Posted Jan 18, 2011
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- Critic Score
Despite all the work put into his workmanlike pop, it ultimately comes off as agreeable, but not memorable.- Los Angeles Times
- Posted Jan 18, 2011
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The downside is that along with heart and brains, Hollywood Undead has filtered out any sense of humor from its music, which makes American Tragedy virtually impossible to listen to for longer than a few songs at a time.- Los Angeles Times
- Posted Apr 13, 2011
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- Critic Score
The characteristically festive result is generous to a fault: Collins triggers warm memories but leaves us with only a shallow sense of how precisely his four decades in the business have affected him as a man.- Los Angeles Times
- Posted Apr 26, 2011
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The cussing, the horror, the anger, the disappointment, the alienation, the frustration, while real and scary and sad, gets tiresome. That's a lot of Tyler, and so much ego-maniacal nihilism, while fascinating and at times revolutionary, wears thin very quickly.- Los Angeles Times
- Posted May 10, 2011
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- Critic Score
All the songs are encased behind such stylish glass that it's hard to feel much of anything while listening to Destroyed, much less identification with the plight of the nomadic musician.- Los Angeles Times
- Posted May 17, 2011
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- Critic Score
If Gaga had only spent as much time on pushing musical boundaries as she has social ones, Born This Way would have been a lot more successful.- Los Angeles Times
- Posted Jun 2, 2011
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Suck It and See (English slang for "give it a try"), slows the pace but ultimately feels even more detached.- Los Angeles Times
- Posted Jun 7, 2011
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The Lips' catalog is exhaustingly long, but Arabia Mountain is a fine reassertion that its talents extend far beyond running from venue security.- Los Angeles Times
- Posted Jun 7, 2011
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The duo's taller half, Ronnie Dunn, was long regarded as the more distinctive singer, and on his solo debut, there's no more sharing of the spotlight to hold him back. That's about the only difference between a Brooks & Dunn record and this similarly hit-and-miss collection of odes to blue-collar empathy, patriotism and the transformative power of love.- Los Angeles Times
- Posted Jun 10, 2011
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- Critic Score
She's clearly capable of belting a worthy song out of the park, but once again she's hampered by bloop singles and the infrequent double.- Los Angeles Times
- Posted Jul 12, 2011
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The result, surprisingly, is Stone's most conventional record yet: handsome soul singing, sturdy blues-rock arrangements, lyrics about refusing to cry oneself to sleep.- Los Angeles Times
- Posted Jul 26, 2011
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the atypical sincerity of La Liberacion suggests that something--whether the burdens of relentless sexiness or beating pop music at its own game too soon--still does.- Los Angeles Times
- Posted Aug 30, 2011
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- Critic Score
While the interplay remains incendiary, the textures freshly incandescent, there isn't much in the way of memorable choruses or hooks.- Los Angeles Times
- Posted Oct 18, 2011
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As with all of the installments, half are good, half aren't--all depending on your mood and tolerance for soft rock.- Los Angeles Times
- Posted Nov 9, 2011
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For all the innuendo and introspection, Talk That Talk contains little sweat, slobber or fluids and a lot of plasticized, inflatable insinuation.- Los Angeles Times
- Posted Nov 21, 2011
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Snoop and Wiz make a sweet couple, but this lightweight trifle is unlikely to cement a committed relationship.- Los Angeles Times
- Posted Dec 13, 2011
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Emotional Traffic isn't dramatically better, worse or all that different from what he's been doing since the beginning.- Los Angeles Times
- Posted Jan 24, 2012
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Gentle on the ears and soft on the heart, Kisses might be of no greater or lesser consequence than an easygoing golf outing among friends or a weekend spent digging a garden near the back fence, but its pleasures, though small and sleepy, can be gratifying.- Los Angeles Times
- Posted Feb 6, 2012
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It's obvious Aoki is a better tastemaker and label boss than producer, but then, didn't we all dream so big in 2005?- Los Angeles Times
- Posted Jan 26, 2012
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- Critic Score
Home may be where the heart is, but Bentley was a lot more compelling when he was poking around up on the ridge.- Los Angeles Times
- Posted Feb 7, 2012
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- Critic Score
The album offers evidence that the singer has fallen behind, that she is no longer setting the conversation in a genre she essentially invented - blending Top 40 pop with club music.- Los Angeles Times
- Posted Mar 26, 2012
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