Magnet's Scores

  • Music
For 1,496 reviews, this publication has graded:
  • 58% higher than the average critic
  • 3% same as the average critic
  • 39% lower than the average critic
On average, this publication grades 0.7 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 In Utero [20th Anniversary Edition]
Lowest review score: 10 I Get Wet
Score distribution:
1,496 music reviews
    • 58 Metascore
    • 35 Critic Score
    Take the fake phone call and run, don't elephant walk, away. [No. 98, p.56]
    • 82 Metascore
    • 35 Critic Score
    Queens Of The Stone Age lumbers its way through a series of increasingly skronky, sludge-by-numbers jams and sound. [No. 100, p.57]
    • 67 Metascore
    • 35 Critic Score
    Their latest is another reliably pleasant, if inconsequential offering. [No. 106, p.52]
    • 61 Metascore
    • 30 Critic Score
    Oh, big breathy bombast, they name is Sense Field. [#60, p.113]
    • 59 Metascore
    • 30 Critic Score
    Turgid at best. [#57, p.102]
    • 62 Metascore
    • 30 Critic Score
    Not even Linkous can prop up this house of cards for long. [#58, p.94]
    • 57 Metascore
    • 30 Critic Score
    While in his mind, Momus might indeed be a giant, to those of us growing weary of his increasingly tedious shtick, he just might be a weenie. [#50, p.99]
    • 71 Metascore
    • 30 Critic Score
    Easy listening has never been this painful. [#57, p.106]
    • 70 Metascore
    • 30 Critic Score
    Shallow and superficial. [#56, p.101]
    • 79 Metascore
    • 30 Critic Score
    Give Up is a record that says, well, nothing. [#58, p.100]
    • 61 Metascore
    • 30 Critic Score
    He sandbags every song with gigantic, syrupy string arrangements that make John Williams sound like John Cage. [#58, p.82]
    • 71 Metascore
    • 30 Critic Score
    By stripping away the symphonic, avant edge... [Gomez] loses much of what made it unique in the first place. [#64, p.96]
    • 73 Metascore
    • 30 Critic Score
    Dog is Black's safest record in years.... As such, however, the album is a bore. Rollicking American rock and pedal-stell ballads don't suit Black, and the resulting arrangements are both unsurprising and uninspired. [#48, p.78]
    • 68 Metascore
    • 30 Critic Score
    Sounds like musicians so thoroughly bereft of ideas and energy that they've resorted to lifting melodies from their record collections wholesale while crossing their fingers for luck, hoping no one will notice the difference between inspiration and theft. [#59, p.88]
    • 74 Metascore
    • 30 Critic Score
    Tepid, predictable.... It's sleek and stylized, the spastic, jittery punk replaced by impassioned, searching guitar lines. [#60, p.110]
    • 53 Metascore
    • 30 Critic Score
    Only a couple of tracks on Nightbird flicker with any sparks of life. [#67, p.96]
    • 68 Metascore
    • 30 Critic Score
    Suggests some arcane Canuck payment scheme in which lyricists are compensated by the syllable. [#70, p.106]
    • 61 Metascore
    • 30 Critic Score
    Where 2005's harrowing Frances The Mute strikes the right balance between inspiration and indulgence, the Mars Volta loses its equilibrium with Amputechture. [#73, p.96]
    • 60 Metascore
    • 30 Critic Score
    The truth is, even Angels & Airwaves do this sort of epic-emo thing with more verve, if not more Verve. [#73, p.96]
    • 62 Metascore
    • 30 Critic Score
    Strength In Numbers makes you wonder if you ever really liked this band at all. [#75, p.94]
    • 37 Metascore
    • 30 Critic Score
    Aside from a handful of tunes, little here is all that memorable, namely because the hooks can’t see their way clear of the repetitive, robotic arrangements.
    • 67 Metascore
    • 30 Critic Score
    Forget Evil Urges entirely; call this one Zzz.
    • 69 Metascore
    • 30 Critic Score
    Brightblack Morning Light has always been a druggie band; this time, however, the drug of choice is Dramamine.
    • 67 Metascore
    • 30 Critic Score
    Mercury Rev has talked about reinvention and veering away from its comfort zone, which is only to be commended, but the band has really fallen flat on its face here.
    • 76 Metascore
    • 30 Critic Score
    This wet blanket is a sheer bore. [No.89, p.57]
    • 63 Metascore
    • 30 Critic Score
    Occasional exotic loop or surprising flair aside, the rest [aside from three songs] is listenable, charmless and pointless. [No.90, p.58]
    • 56 Metascore
    • 30 Critic Score
    III
    After all these years, the band still possesses no originality or musical inventiveness that could distinguish it from the pack. [No. 93, p.58]
    • 59 Metascore
    • 30 Critic Score
    Phillip Ekstrom's vocals echo the tortured moan of Robert Smith with a trace of Ian McCulloch's attitude, but he never manages to find his own voice. Except for the implied reggae pulse on "Blues," neither does the band. [No. 96, p.56]
    • 71 Metascore
    • 30 Critic Score
    Not only does Bankrupt! propose a big, stadium-ready sound, it offers one that nearly suffocates its creators. [No. 98, p.59]
    • 63 Metascore
    • 30 Critic Score
    The failing of Plain, however, is its lack of direction and absence of cohesiveness. [No. 98, p.55]