Magnet's Scores

  • Music
For 1,420 reviews, this publication has graded:
  • 57% higher than the average critic
  • 4% same as the average critic
  • 39% lower than the average critic
On average, this publication grades 0.8 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:
1,420 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]
    • 60 Metascore
    • 30 Critic Score
    Despite valiant efforts at punking up "O Come, O Come Emmanuel" and "White Christmas," this is starting to sound like a bad joke. [No. 105, p.52]
    • 70 Metascore
    • 30 Critic Score
    This time it's insipid, acousti-stomp faux-psych of the down-to-mid-tempo variety, and autopilot riffers that come off like MADtv skits about stoner metal. [No. 104, p.59]
    • 67 Metascore
    • 20 Critic Score
    This batch of 11 half-baked songs is whiny, lifeless and not even close to stimulating. [#60, p.106]
    • 46 Metascore
    • 20 Critic Score
    In spite of its shortcomings, there's something fascinating about this saccharine new Butthole brew.... Like driving by a head-on collision late at night, it's almost impossible to avert your eyes. [#51, p.88]
    • 72 Metascore
    • 20 Critic Score
    Musically, the quartet is borderline worthless. [#48, p.84]
    • 78 Metascore
    • 20 Critic Score
    Tortoise makes like Herbie Hancock wandering through the '80s, all lost at the jazz-fusion supermarket. [#49, p.95]
    • 64 Metascore
    • 20 Critic Score
    Halfway applies Cook's fading trademark of playful repetition to similarly crackly sampling and comes up almost wholly unlikable. [#48, p.89]
    • 76 Metascore
    • 20 Critic Score
    The unintentionally hilarious Mount Eerie misfires so dramatically, it makes you want to reconsider not the Second Amendment but the First. [#57, p.98]
    • 63 Metascore
    • 20 Critic Score
    Unfortunately, [Markus] Popp has recently become more fascinated with theory than result.... This is what causes the downfall of Ovalprocess as a work of pure music.... a disappointing misstep. [#47, p.112]
    • 72 Metascore
    • 20 Critic Score
    Feels like a product of the past. Not the distant past, either, where at least its retrofits could be forgiven as homage. Lemon Jelly captures electronica circa 1993. [#67, p.102]
    • 68 Metascore
    • 20 Critic Score
    Doesn't offer much in the way of anything appealing. [#67, p.90]
    • 61 Metascore
    • 20 Critic Score
    A dull collection of dreary drone-rock songs. [#69, p.111]
    • 63 Metascore
    • 20 Critic Score
    On Rehearsing My Choir, the Furnaces are just defiant because they can be, indulging every impulse but neglecting to make any of them even remotely compelling. [#70, p.96]
    • 64 Metascore
    • 20 Critic Score
    There are but three words to describe the sixth album from [Nightmares On Wax]... "repetition"... "derivative"... "listless."[#71, p.108]
    • 57 Metascore
    • 20 Critic Score
    How in god's name did Damon Gough fall so far? [#74, p.90]
    • 67 Metascore
    • 20 Critic Score
    What had been a fascinating display of aural minimalism has morphed into a haphazard, ill-advised mess. [#75, p.96]
    • 56 Metascore
    • 20 Critic Score
    It's fine that none of this is the least bit subtle. Memorable, or anything other than baseline catchy, is another thing entirely. [#81, p. 56]
    • 52 Metascore
    • 20 Critic Score
    Seems shambled and unfinished. [No. 85, p.58]
    • 54 Metascore
    • 20 Critic Score
    Unfortunately all this hi-watt talent [guest vocalists] can't cover up Iha's weak vocals, which pass from winsome to wan early on and never recover. [No.92 p.54]
    • 52 Metascore
    • 20 Critic Score
    A poor pastiche of Aphex Twin, Spandau Ballet and Gary Numan. [No. 96, p.60]
    • 72 Metascore
    • 20 Critic Score
    [A] joyless, meticulously crafted trudge. [No. 106, p.52]
    • 71 Metascore
    • 10 Critic Score
    I don't know which Stereolab album is more nauseating: Sound-Dust or the last one. [#51, p.118]
    • 64 Metascore
    • 10 Critic Score
    Here, on one compact disc, is what's wrong with the music industry. [#54, p.110]
    • 60 Metascore
    • 10 Critic Score
    Wow, is Beyond Good And Evil bad. Thudding, empty albums about nothing, held together with some of the worst guitar solos since late-'80s Lou Reed. [#51, p.90]
    • 61 Metascore
    • 10 Critic Score
    The whole record is all skittering drums never finding their place, and shivering synths that drift in search of a landing pad. [No. 94, p.58]
    • 64 Metascore
    • 10 Critic Score
    Mediocrity this aggressive should cancel itself out at some point. [No. 101, p.53]
    • 56 Metascore
    • 10 Critic Score
    Stale, vapid and generally awful. [No. 105, p.55]