Mixer's Scores

  • Music
For 110 reviews, this publication has graded:
  • 60% higher than the average critic
  • 4% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 0.3 points higher than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 90 18
Lowest review score: 30 Slicker Than Your Average
Score distribution:
  1. Positive: 85 out of 110
  2. Negative: 1 out of 110
110 music reviews
    • 63 Metascore
    • 90 Critic Score
    Van Helden gets it spot-on as he manages to take the genre by the scruff of its neck and give it the shakedown that it needs once in awhile. [Oct 2001, p.88]
    • Mixer
    • 66 Metascore
    • 90 Critic Score
    Sounds more like a greatest hits collection than a singular artistic statement.... Drukqs is unparalleled in its production and undeniable in its brilliance. [Nov 2001, p.73]
    • Mixer
    • 81 Metascore
    • 90 Critic Score
    A work of exquisite, afterparty brilliance. [Oct 2002, p.84]
    • Mixer
    • 80 Metascore
    • 90 Critic Score
    Whatever drops some intense audio warfare that (dis)colors tech-house with fierce new wave, electro, industrial and punk hues. [Nov 2001, p.72]
    • Mixer
    • 58 Metascore
    • 90 Critic Score
    A deep, dark and dirty affair. [June 2002, p.88]
    • Mixer
    • 65 Metascore
    • 90 Critic Score
    One of the year's best drum 'n' bass albums. [Dec 2002, p.74]
    • Mixer
    • 71 Metascore
    • 90 Critic Score
    Armstrong's arrangements have the emotional resonance to move your mind to more serene locales. [May 2002, p.78]
    • Mixer
    • 65 Metascore
    • 90 Critic Score
    His most refined sound to date. [Jul 2001, p.80]
    • Mixer
    • 61 Metascore
    • 90 Critic Score
    18
    The most poignant artistic statement of his career. [May 2002, p.70]
    • Mixer
    • 90 Metascore
    • 90 Critic Score
    It's his lyrical earnestness that makes his decidedly British experience so universally appealing. [Nov 2002, p.76]
    • Mixer
    • 72 Metascore
    • 90 Critic Score
    Come With Us transcends the duo's once-signature style, using a diverse palette of sounds and rhythms to create songs most applicable to the big-room dancefloor. [Jan 2002, p.73]
    • Mixer
    • 84 Metascore
    • 90 Critic Score
    For the most part, Geogaddi only hints at new directions. But then, if it ain't broke, why fix it? [Apr 2002, p.78]
    • Mixer
    • 74 Metascore
    • 80 Critic Score
    OST
    [Eminem's] three solo offerings... are the strongest cuts from a very strong album. [Jan 2003, p.84]
    • Mixer
    • 68 Metascore
    • 80 Critic Score
    Manages to be simultaneously more minimal and more menacing. [Nov 2002, p.79]
    • Mixer
    • 69 Metascore
    • 80 Critic Score
    As good at home as in the clubs, the Beings don't compromise integrity for catchiness, managing to offer healthy helpings of both. [Sep 2002, p.76]
    • Mixer
    • 69 Metascore
    • 80 Critic Score
    The album's edgy urban vibe, psychedelia and reggae find the Armada merging all of their varied influences into a collection that pounces with monster grooves and purrs with low-slung downtempo tunes. [Jan 2003, p.72]
    • Mixer
    • 72 Metascore
    • 80 Critic Score
    A diverse, versatile selection of tracks. [Apr 2002, p.94]
    • Mixer
    • 62 Metascore
    • 80 Critic Score
    With its soaring guitars and crashing drums, Tweekend sounds more like a rock album than an electronic album. [Aug 2001, p.77]
    • Mixer
    • 61 Metascore
    • 80 Critic Score
    An engaging, challenging listen. [Apr 2002, p.77]
    • Mixer
    • 68 Metascore
    • 80 Critic Score
    Maybe the stint scoring music for the acclaimed film The Virgin Suicides helped them segue their too-atmospheric-for-the-room lingerings into something more tangible. [May 2001, p.76]
    • Mixer
    • 71 Metascore
    • 80 Critic Score
    [Emerson's] absence has liberated rather than weakened Hyde and Smith. [Sep 2002, p.74]
    • Mixer
    • 76 Metascore
    • 80 Critic Score
    The textured ambience is a simple, sumptuous recipe that is not wholly unprecedented, but certainly welcome. [Dec 2002, p.80]
    • Mixer
    • 60 Metascore
    • 80 Critic Score
    A freakazoid musical pastiche. [Oct 2002, p.83]
    • Mixer
    • 68 Metascore
    • 80 Critic Score
    The sophistication of its upbeat electro-pop construction allows Kylie to fly while her contemporaries simply float. [Apr 2002, p.77]
    • Mixer
    • 87 Metascore
    • 80 Critic Score
    Undoubtedly the toughest music yet from the six-member crew, Phrenology may also be their best work, characterized by a powerful, head-nodding groove that carries through the entire album. [Nov 2002, p.78]
    • Mixer
    • 68 Metascore
    • 80 Critic Score
    While not weighty or moody or even all that original at times, you can say one thing: Leroy's Beck-cum-brit-pop at least knows how to entertain better than most of what Carl Craig's put out lately. [Jul 2001, p.82]
    • Mixer
    • 81 Metascore
    • 80 Critic Score
    By using his hip-hop chops to express some next school emotions, Shadow comes up with something that doesn't just sound new, it feels new. [Jun 2002, p.86]
    • Mixer
    • 70 Metascore
    • 80 Critic Score
    Daybreaker is Orton's ultimate heartstring-pulling concoction. [Jul 2002, p.80]
    • Mixer
    • 86 Metascore
    • 80 Critic Score
    OST
    The album's sole fault (if you can call it that) is a tendency to stick with sure-fire classics. [Aug 2002, p.78]
    • Mixer
    • 80 Metascore
    • 80 Critic Score
    Anyone interested in thoughtful, moody downtempo instrumentals will definitely enjoy this. [Dec 2002, p.76]
    • Mixer