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 4.9 points higher than other critics. (0-100 point scale)
Average Music review score: 77
Highest review score: 100 Treats
Lowest review score: 0 Testify
Score distribution:
  1. Negative: 5 out of 628
628 music reviews
    • 64 Metascore
    • 55 Critic Score
    Hill’s disc captures everything that’s easy to hate about Hella.... Seim’s album, on the other hand, is easily the most fully-realized work to bear the Hella name.
    • 65 Metascore
    • 55 Critic Score
    Too familiar, too gloomy and too bland.
    • 61 Metascore
    • 55 Critic Score
    A handful of these recordings show promise, and should prove enjoyable for diehards and newcomers alike.... These standouts sadly don’t compensate for the rest of the album’s general blandness.
    • 63 Metascore
    • 55 Critic Score
    Where Cale flaps up is in not allowing himself enough space for nuance atop his overdriven guitars, forcing the deployment of gaudy keyboard settings to match the guitars’ "intensity" and even fumbling into a bona fide mall-punk chorus in "Perfect."
    • 81 Metascore
    • 55 Critic Score
    Shut Up’s biggest downfall is it’s speed, or lack thereof. The songs lilt and twirl with Krug’s yelp, xylophones and processed guitars, but rarely does the pace exceed ballad-like levels.
    • 67 Metascore
    • 55 Critic Score
    Nightcrawler is essentially a sequence of fourteen overproduced songs that bleed into one another. Mind you these are not bad songs... But there is an overwhelming feeling that he is merely going through the motions.
    • 72 Metascore
    • 55 Critic Score
    As it is now, decidedly un-personal, In Our Nature falls flat.
    • 79 Metascore
    • 55 Critic Score
    Even at its best this whole record sounds like a band who wants to make an impact by trying to be everything to everyone. And because they're not too good at everything they do yet, this lack of a definitive identity that makes it difficult to take them seriously (or if this is their definitive identity, they're just boring).
    • 62 Metascore
    • 54 Critic Score
    Happiness Ltd. is a big mess.
    • 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.