Lost At Sea's Scores

  • Music
For 628 reviews, this publication has graded:
  • 74% higher than the average critic
  • 2% same as the average critic
  • 24% lower than the average critic
On average, this publication grades 5 points higher than other critics. (0-100 point scale)
Average Music review score: 77
Highest review score: 100 The Best Of The Black President
Lowest review score: 0 Testify
Score distribution:
  1. Negative: 5 out of 628
628 music reviews
    • 76 Metascore
    • 54 Critic Score
    To simply not want to skip tracks isn't exactly saying anything, and certainly not that Wilco has made any kind of return to relevance. But Jeff the person is doing just fine, and instead of chastising this release, let's be happy that the guy who gave us more serious, occasionally harrowing masterpieces such as Summerteeth and Yankee Hotel Foxtrot finally seems to be having some fun. Next time it'd be nice if he let us in on it.
    • 69 Metascore
    • 51 Critic Score
    The icy joylessness with which Bulmer humors her band's recordings doesn't ruin everything, shockingly enough.
    • 61 Metascore
    • 50 Critic Score
    It’s too bad more songs don’t skip the sophomoric lyrics. Tinker around with your equalizer - you may be able to drown out the vocals and save the otherwise interesting CD.
    • 71 Metascore
    • 50 Critic Score
    Decidedly unremarkable.
    • 66 Metascore
    • 50 Critic Score
    Despite the variety of acts on the disc, the songs are surprisingly uniform in structure: stripped down to Beck's vocals (which are left intact) and rebuilt with a drum machine set to either "monotonous" or "uninspired."
    • 71 Metascore
    • 50 Critic Score
    A Colores’s most glaring failure is its reluctance to shift from the narcotic tone it so quickly assumes.
    • 67 Metascore
    • 50 Critic Score
    In the end Continuum feels like little-more than the self-indulgent effort of a possibly-peaked pop star.
    • 73 Metascore
    • 50 Critic Score
    Casting off songs entirely for 17 parts that to their cult make a sum, I was sure this would be the one where I could finally take my other foot off the doorstop....[But] the fresh voices and staged character interplay keep Meloy's pretensions from boiling over, and loathe as I am to admit, two of the four title tracks culminate in something like hooks.
    • 74 Metascore
    • 47 Critic Score
    The one unique thing about Stewart's lyrical style (a sort of homage of shallow, U.S. suburban vernacular that paints a very specific picture to those of us from the suburbs) seems to be missing on Dear God, I Hate Myself. Sure, maybe it's even tongue-in-cheek, but I sure hope he's not joking.
    • 73 Metascore
    • 45 Critic Score
    Numbers tout themselves as a dance-punk outfit, but they won’t get you on the dance floor anytime soon.
    • 67 Metascore
    • 45 Critic Score
    For 80s nostalgia freaks, you might find that We Are Scientists have a few things in common with The Cure, and you might find that charming. But that’ll tide you over only so long before you realize this is nothing more than a major label trying to play catch-up by signing somebody who sounds like the flavor-of-the-month.
    • 82 Metascore
    • 45 Critic Score
    The prevailing lack of substance declares itself by the time "Still Take You Home" kicks in, and it becomes evident that Alex Turner’s somewhat chirpy vocals are the album’s lone cohesive influence.
    • 61 Metascore
    • 45 Critic Score
    It falls flat, offering little hope for the listener; after a few disappointing rounds of thinking that the next track simply HAS to be solid, the album exits as if it were never really there. Without a doubt, War Stories is the weakest and most disappointing UNKLE release to date.
    • 71 Metascore
    • 45 Critic Score
    Nine of Arm's Way's twelve songs start with legs, but ultimately suffer from an inability to respect their limits.
    • 73 Metascore
    • 44 Critic Score
    Rollie has yet to find his voice, though.
    • 76 Metascore
    • 43 Critic Score
    While Chrome Dreams II was clearly modeled after his more "classic" sounding work, it finds Young sounding like little more than a knockoff of his former self.
    • 70 Metascore
    • 40 Critic Score
    The band is learning to play their instruments better, but they’ve lost some aggression, which was the key to the little charm they had from the get-go.
    • 62 Metascore
    • 40 Critic Score
    Some of the tracks may be fun, but The Best Little Secrets Are Kept is little more than mindlessness parading as innovation.
    • 72 Metascore
    • 40 Critic Score
    X&Y
    X & Y is uninspired adult pop that drops jaws only in its capacity to elicit yawns.
    • 68 Metascore
    • 40 Critic Score
    Body of Song truly falters in its inability to successfully blend two sensibilities.
    • 69 Metascore
    • 40 Critic Score
    The third time is not the charm, at least in the case of this album, which is polished to the point of being ultimately less appealing and without any angles from which to approach.
    • 69 Metascore
    • 40 Critic Score
    From the first song to the last, Speakers And Tweeters is an audio trip back in time, but not in the poignant sentimental way that one might hope.
    • 48 Metascore
    • 40 Critic Score
    Wanderlust is instantly forgettable.
    • 80 Metascore
    • 38 Critic Score
    After their breakthrough, The '59 Sound, the Jerseyian punks appear to have taken a Green Day-like career shift: finding a concept that struck a chord and beating it to death like one of the down-and-out ciphers in the B-movie quality Springsteen worldview they've constructed.
    • 68 Metascore
    • 36 Critic Score
    It would almost be pretty or epic if Tankian hadn't done this sort of thing ten times over already: nonsensical title, half-time verses balladeered in a faux-operatic style before rushing into the "unpredictable" chorus, which is uncomfortably wordier than ever I might add.
    • 62 Metascore
    • 30 Critic Score
    Instead of infectious innovation, on Ripe the audience is served a mostly useless platter of fluff pieces, wittiness minus the wit, and hooks that flail aimlessly through the air around them.
    • 70 Metascore
    • 30 Critic Score
    Mostly, the overkill of professionalism just makes me yearn for the early Green Day material I grew up with: sloppy, abrasive, and most importantly, aware of what they can and can't pull off.
    • 55 Metascore
    • 0 Critic Score
    There’ll be some splainin’ to do at the pearly gates.