For 1,599 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 0.1 points lower than other critics.
(0-100 point scale)
Average Music review score: 73
Highest review score: | Chemtrails Over the Country Club | |
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Lowest review score: | The New Game |
Score distribution:
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Positive: 1,361 out of 1599
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Mixed: 176 out of 1599
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Negative: 62 out of 1599
1599
music
reviews
- By Date
- By Critic Score
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- Critic Score
Brick Body Kids Still Daydream is Eagle’s seventh solo album, and builds on his hot 2014 work, “Dark Comedy.” The difference? Scope. Like the composer Stew did in his 2006 rock musical “Passing Strange,” Eagle makes grand narrative connections across “Brick Body Kids ...” and does so through his skills as a storyteller and rapper with a sublimely confident flow.- Los Angeles Times
- Posted Sep 22, 2017
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Some songs from Hitchhiker found purchase on Young’s 1979 electric record “Rust Never Sleeps,” but gathered as they were originally intended, Hitchhiker is a profound addition to Young’s canon of campfire classics.- Los Angeles Times
- Posted Sep 22, 2017
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If you’re familiar with Godspeed’s work, this is far from a reinvention, but it’s also not a record of mourning, as much of the collective’s music has been described. Instead, it feels more like a call to action and creation, even if only to assemble an hour or so of music.- Los Angeles Times
- Posted Sep 21, 2017
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“Blue Cloud” vibes like a prog-rock jam minus any pretense. Elsewhere on the album, the five-piece creates gentle beauty during “Charles De Gaulle,” a work that, like many Wand songs, shifts gears two-thirds of the way through, this one with the introduction of tribal tom-toms and bells.- Los Angeles Times
- Posted Sep 20, 2017
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Even when the subject matter starts out a little more sober, their unflagging wit isn’t far away.- Los Angeles Times
- Posted Sep 12, 2017
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Murphy skillfully layers his sounds for tracks that somehow feel dense and airy at the same time.- Los Angeles Times
- Posted Aug 30, 2017
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The five new songs that make up this extended play give it the heft of a full album. Like synth-rock pioneer New Order's early EP, "1981-1982," it contains as many engaging moments as lesser artists' full-lengths.- Los Angeles Times
- Posted Aug 17, 2017
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It’s a vivid account of a woman’s unwanted confrontation with a powerful tormentor--“a bogeyman under my bed putting crazy thoughts inside my head,” as she puts it in “Learn to Let Go”--as well as her determination to leave the resulting damage behind.- Los Angeles Times
- Posted Aug 9, 2017
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Produced with his usual team of Mitchell Froom, Lenny Waronker and David Boucher, it’s a masterful collection so rich with sonic detail that you almost hope he never gets around to making “The Randy Newman Songbook Vol. 4.”- Los Angeles Times
- Posted Aug 4, 2017
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If [the cover of Dennis Linde’s “Burning Love”] the first reason to check in on this collection, which went largely unnoticed when Warner Bros. released it, the reason to stay with it is the exquisite melancholy the Alabama-reared musician invests in just about everything he sings.- Los Angeles Times
- Posted Jul 27, 2017
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“Reflektor” lacked killer tunes to go with its propulsive grooves, whereas this album is filled with them--including two separate tracks that recall Abba.- Los Angeles Times
- Posted Jul 26, 2017
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The 13 tracks further confirm Martin's limitless inspiration.- Los Angeles Times
- Posted Jul 25, 2017
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The record makes you believe in the image in the “Want You Back” video of three women sharing a vivid private language. It also makes you believe that rock might have a future (even if it’s only the genre’s past).- Los Angeles Times
- Posted Jul 5, 2017
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As remarkably immediate as it is, though, 4:44 feels durable in a manner that few tweets do; it’s a collection of songs--sly but moving, both intricate and lucid--that we’ll be coming back to for years.- Los Angeles Times
- Posted Jun 30, 2017
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Melodrama is so much more potent when Lorde is owning her newfound authority, as in the album’s dizzying opening track, “Green Light,” in which she urges a lover to follow her “wherever I go” over a surging house groove that keeps escalating in intensity.- Los Angeles Times
- Posted Jun 16, 2017
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Like her excellent previous album, “Over and Even” (2015), Shelley’s new one is a subtle venture that requires focused listening--put down your phone--to fully appreciate.- Los Angeles Times
- Posted Jun 14, 2017
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These are grand-scaled electro-rock anthems that recall the fist-pumping likes of Arcade Fire and Bruce Springsteen even as they confess to an introvert’s anxieties.- Los Angeles Times
- Posted Jun 14, 2017
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- Los Angeles Times
- Posted Jun 14, 2017
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Clocking in at just under 40 minutes, the album finds a pair of consistently evocative artists in full control of their powers.- Los Angeles Times
- Posted Jun 12, 2017
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[Witness is] more jumbled still, with would-be self-empowerment anthems next to earnest ballads lamenting the end of a relationship. ... Witness contains strong moments beyond “Chained to the Rhythm,” which still feels like the beginning of an intriguing project.- Los Angeles Times
- Posted Jun 7, 2017
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What follows is a weird tangle of backward orchestral samples, bleeps and big-beat drumming. If the record seems messy, in fact it’s the opposite. There’s intention in every measure.- Los Angeles Times
- Posted Jun 5, 2017
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Occasionally the music wells up into something noisier and more rhythmically intense; “Bird in a Gale,” with Waters’ image of a loon howling at the sea, openly echoes the trippy deep-space psychedelia of “The Dark Side of the Moon.”- Los Angeles Times
- Posted Jun 5, 2017
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- Los Angeles Times
- Posted May 18, 2017
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An expertly crafted experimental pop album that at various points suggests the work of singer Kate Bush, the effects-drenched work of the Cocteau Twins and British art-rock band Talk Talk--all musicians who mix a certain sonic delicacy with studio heavy production--No Shape exudes confidence and vulnerability in equal measures.- Los Angeles Times
- Posted May 17, 2017
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LaFarge backs it up with the joyful noise he and his bandmates bring to all 10 tracks- Los Angeles Times
- Posted May 17, 2017
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These are striking, expertly crafted songs containing left-field bridges and curious diversions, and the result is a memorable record from start to finish.- Los Angeles Times
- Posted May 16, 2017
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West Virginia singer, songwriter and guitarist Brad Paisley has proven himself a wizard at striking a canny balance among earnestness, whimsy, social awareness and party-hearty celebration. With Love and War he’s conjured another 16 tracks that skillfully traverse those lines.- Los Angeles Times
- Posted May 12, 2017
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As eager as he seems to establish a new context--to lift himself out of the realm of branded lunchboxes and touch down among the real rock artistes--Styles never overplays his hand on this winningly relaxed collection.- Los Angeles Times
- Posted May 12, 2017
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The fifth album by the Swedish avant-pop group since its 2007 debut merges synthetic R&B, modern textures and of-the-moment dance music. The result finds the quartet at its most magnetic and adventurous.- Los Angeles Times
- Posted Apr 26, 2017
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- Los Angeles Times
- Posted Apr 24, 2017
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