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 Hospice
Lowest review score: 0 Testify
Score distribution:
  1. Negative: 5 out of 628
628 music reviews
    • 77 Metascore
    • 65 Critic Score
    More Fish has a fishy flavor and smell but has little else resembling the hard-hitting potency of its mind numbing predecessor, Fishscale.
    • 71 Metascore
    • 65 Critic Score
    Terry has clearly reached a new level of musical maturity on this album, but flirting with sounds that don't quite fit in the face of such progression only keeps Or Give Me Death from fully harnessing his newfound growth.
    • 71 Metascore
    • 65 Critic Score
    The creative engine has stalled on Baby 81.
    • 75 Metascore
    • 65 Critic Score
    Overall, Hera Ma Nono left a good impression with several notable points, however, there will be no drooling this time around.
    • 64 Metascore
    • 65 Critic Score
    For the most part Dave Gahan has a lot of catching up to do after his lackluster solo debut, and Hourglass, while an improvement, will likely suffer from the continued fallout of "Paper Monsters."
    • 79 Metascore
    • 65 Critic Score
    In Defense of the Genre does defeat the emo stigma and the double CD stigma easily, and does improve slightly on the pretty-good "…Is a Real Boy." But these are minor inventions; any "genius" is pretty much limited to the bites and nuggets reported here.
    • 62 Metascore
    • 65 Critic Score
    The pair accomplished what they set out to do, but by no means are they causing any whiplash with the results.
    • 79 Metascore
    • 65 Critic Score
    You'll find yourself wondering if Nouns is really all that good or if you're just shocked to hear such songs on a No Age record.
    • 73 Metascore
    • 65 Critic Score
    Ben Gibbard has shown growth which each successive release, and made the jump to hooky pop-songsmith with the Postal Service's (apparently) one-off collaboration, but Narrow Stairs feels stagnant, devoid of even the superficial pleasures present on Plans.
    • 71 Metascore
    • 65 Critic Score
    While the similarities to Morretti's other group are what make Little Joy so easy to digest, they are also what make it seem somewhat unremarkable.
    • 78 Metascore
    • 65 Critic Score
    The Life of the World to Come isn't exactly a head-nodding compendium to the Good Book as much as a shoulder-shrugging desire for surrender. For some, an album with such strong religious overtones may distance those disenchanted with the church.
    • 85 Metascore
    • 65 Critic Score
    Newsom's brilliant but reckless songwriting resulted in eighteen tracks, each with an EP's worth of creativity and talent. But why stop editing an overlong listening experience there? Treating each song as an independent entity isn't such a bad idea.
    • 76 Metascore
    • 65 Critic Score
    It's a pretty good album if you can get the idea of its dreary additions to their setlists out of your head.
    • 84 Metascore
    • 65 Critic Score
    It's whether or not This Is Happening stands on its own merits as original composition consistent with the quality of the LCD catalog. It falls short on both accounts, unfortunately, in what basically amounts to a final victory lap for a band that made its mark and doesn't have much more to say.
    • 72 Metascore
    • 64 Critic Score
    All things considered, Washington Square Serenade is a bit nonchalant by Earle's standards.
    • 73 Metascore
    • 64 Critic Score
    When they hit even small strides, like the album's murky single 'Gila,' the relief is like a breath of ocean air. Otherwise, for the most part, the admittedly pretty songs simply fade away, like footprints in the sand.
    • 75 Metascore
    • 64 Critic Score
    For however much this album is worth berating, there's no denying that Subtle are an extremely talented group of musicians, and ExitingARM is not so much a fuck-up as it is a trial in exploring limitations.
    • 79 Metascore
    • 63 Critic Score
    Those listeners who recognized Black Mountain as one in a long line of inward looking, backward thinking bands will find that In The Future ups the ante. That's not automatically a great thing, and it means that Black Mountain will yet again be greeted with abundant I know what you're doing and I don't like it reactions.
    • 68 Metascore
    • 63 Critic Score
    An interesting listen, Face Control has an eerie vibe, as though something beneath the surface is just a bit off.
    • 64 Metascore
    • 62 Critic Score
    Things get really sketchy, in the sense that most of the tunes are just that, sketches, with an arrangement or melodic idea worth pursuing that doesn't reach high enough.
    • 67 Metascore
    • 62 Critic Score
    Regardless of lyrical legitimacy, the sentiment is captivating, but across the album as a whole this substance is fleeting, and is what fans will be missing the most.
    • 53 Metascore
    • 60 Critic Score
    Even the songs that rise above the simple looped-beat formula don’t have much to offer.
    • 53 Metascore
    • 60 Critic Score
    Dangerous Dreams is a passable album that never achieves greatness, nor does it fail miserably, rather residing with the mundane.
    • 76 Metascore
    • 60 Critic Score
    The Secret Migration has the power to cast a spell over you with its dreamy, wraithlike keyboards. Many won't fall for it, though, and will undoubtedly find them too melodramatic.
    • 63 Metascore
    • 60 Critic Score
    Familiarity can be a good thing, but The Stands get plain fresh, crossing the line between feeling safe and feeling violated.
    • 65 Metascore
    • 60 Critic Score
    There is a feeling of being sucked into a mid-90s vortex here.
    • 73 Metascore
    • 60 Critic Score
    Everything goes smoothly on In the Clear, with no real highs or lows, so to speak, and as such it unrolls without much fanfare or energy.
    • 52 Metascore
    • 60 Critic Score
    Some songs are worth a listen, but the overall package sounds and feels redundant and, putting myself at the mercy of =W= fans everywhere, renders itself irrelevant.
    • 70 Metascore
    • 60 Critic Score
    We know in their perfect pop moments, Fountains of Wayne can be inspiring, but Out-of-State Plates proves that in imperfection, they can wear even the most admiring fans out.
    • 77 Metascore
    • 60 Critic Score
    Most of these tracks can be found on the Internet in their original Iron & Wine incarnations, and all but one sounds 100% better that way.