Magnet's Scores

  • Music
For 1,521 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 Sound of Water
Lowest review score: 10 I Get Wet
Score distribution:
1,521 music reviews
    • 79 Metascore
    • 90 Critic Score
    It's as raucous and vital as their first three. [No. 93, p.52]
    • 76 Metascore
    • 90 Critic Score
    Essentially, it's the super-cool but super-classy Christmas record all hipsters hope they'll find under their tree this year. [No. 94, p.61]
    • 98 Metascore
    • 90 Critic Score
    A ground-breaking debut, an original game-changer, a true, flawless, 24-carat triumph. [No. 94, p.60]
    • 86 Metascore
    • 90 Critic Score
    Even when he's pouring on the lushness, the producer keeps Fay's gentle, weathered voice and arresting lyrics front and center. [No.91, p.54]
    • 77 Metascore
    • 90 Critic Score
    Blood Oaths Of The New Blues has us realizing, possibly for the first time, what an amazing, enrapturing voice the dude has. [No. 95, p.61]
    • 79 Metascore
    • 90 Critic Score
    Bassist Dunn and drummer Stanier lay down weird sprightly grooves, while guitarist Denison arranges their melodies into something hard and densely poppy with arch-but-upbeat harmonics pulled from Pet Sounds. [No. 95, p.61]
    • 87 Metascore
    • 90 Critic Score
    The noise that's here is lovely, heartbreaking, expansive and raw. [No. 97, p.58]
    • 82 Metascore
    • 90 Critic Score
    On the band's latest, they continue the move toward the tighter concision found on 2009's King Of Jeans, but unlike Pissed Jeans' previous efforts, there isn't a seven-minute dirge on Honeys. [No. 95, p.51]
    • 86 Metascore
    • 90 Critic Score
    A rousing, energetic exploration of the Roy Orbison-influenced rock 'n' roll, classic country and Latin influences--that blows all the damn mall-folk clogging up our inbox out of the goddamn water. [No. 96, p.57]
    • 79 Metascore
    • 90 Critic Score
    The Marriage Of True Minds is pure late-model Matmos: perverse, urbane, crowded, hilarious, and efficient. [No. 95, p.55]
    • 76 Metascore
    • 90 Critic Score
    They take genre conventions and flip them inside out. [No. 96, p.57]
    • 85 Metascore
    • 90 Critic Score
    [A] momentous sixth LP. [No. 96, p.60]
    • 78 Metascore
    • 90 Critic Score
    This is a record that fans of Juliana Hatfield, Lightning Bolt or King Crimson could fall in love without compromise. [No. 96, p.60]
    • 78 Metascore
    • 90 Critic Score
    This time out, he brings all his influences together into an LP that may be his most musically diverse offering yet. [No.96, p.56]
    • 73 Metascore
    • 90 Critic Score
    It's a denser, darker album than 2011's S/T II: The Cosmic Birth and Journey of Shinju TNT, spending more of its time gazing outward, intent on gleeful subversion and taking delight in making noise for the hell of it. [No. 98, p.52]
    • 81 Metascore
    • 90 Critic Score
    Monomania is stacked with track-to-track unshakable, albeit twisted, pop melodies and an atmosphere of unrest that will stick with you between repeated listens. [No.99, p.52]
    • 74 Metascore
    • 90 Critic Score
    Partygoing is arguably as good as Memories Of Love. [No.99, p.54]
    • 87 Metascore
    • 90 Critic Score
    The music remains solidly Southern, using all three chords, but the lyrics reach for new levels of cussedness and vulnerability. [No.99, p.57]
    • 71 Metascore
    • 90 Critic Score
    Three cheers aren't enough. [No.99, p.59]
    • 82 Metascore
    • 90 Critic Score
    There's no flashiness here, but a slow-burning passion makes this record smoke. [No.99, p.56]
    • 73 Metascore
    • 90 Critic Score
    You get something that's very lovely and poetic and melancholy and vulnerable and unspeakably beautiful. [No. 100, p.54]
    • 87 Metascore
    • 90 Critic Score
    Seven bonus cuts from the same project make it more than worth picking up even for those who've worn out the original. [No. 101, p.58]
    • 87 Metascore
    • 90 Critic Score
    beyond his original albums lies three newly cobbled CDs of magic realist pop and frisky showboating folk that are endlessly fascinating. [No. 101, p.54]
    • 87 Metascore
    • 90 Critic Score
    It's the best album Fulks has ever made, period, and even if you can't quite make out the twister that swept away all that old anger, it's easy to hear the sweet, sad emptiness it left behind. [No. 102, p.56]
    • 81 Metascore
    • 90 Critic Score
    This is music that's instantly, wordlessly evocative while also invitingly open-ended. [No. 102, p.57]
    • 96 Metascore
    • 90 Critic Score
    These recordings are the sound of a man back in the game and ready to pounce. [No. 100, p.52]
    • 75 Metascore
    • 90 Critic Score
    Vocally, Gordon is reborn, baptized in fire. [No. 102, p.53]
    • 71 Metascore
    • 90 Critic Score
    Defend Yourself is virtually filler-less. [No. 102, p.52]
    • 80 Metascore
    • 90 Critic Score
    The double-disc, dual volume album that results is one that finds the Canadian seven-piece sounding liberated, from stylistic and budgetary constraints both. [No. 105, p.52]
    • 74 Metascore
    • 90 Critic Score
    Taken all in one sitting, the dashing Mole City is both way too much and way too little. [No. 103, p.60]