Mixmag's Scores

  • Music
For 408 reviews, this publication has graded:
  • 77% higher than the average critic
  • 3% same as the average critic
  • 20% lower than the average critic
On average, this publication grades 6.1 points higher than other critics. (0-100 point scale)
Average Music review score: 78
Highest review score: 100 Leftism 22 [Reissue]
Lowest review score: 50 Darker Than Blue
Score distribution:
  1. Negative: 0 out of 408
408 music reviews
    • 86 Metascore
    • 60 Critic Score
    LP1
    There are some excellent tracks here--‘Lights On’, ‘Two Weeks’, ‘Pendulum’--and her talent is obvious, but the men at the production desk could perhaps have been braver.
    • 85 Metascore
    • 60 Critic Score
    Directional swerves are admirable, but make an uneven set, especially as the material from their first three albums has more palpable sparkle than the rest.
    • 81 Metascore
    • 60 Critic Score
    It’s absolutely breathtaking in its audacity and intergalactic ambition, and even breathtakingly beautiful in places. But... it’s bloody tiring too.
    • 80 Metascore
    • 60 Critic Score
    Fin
    There's no distinct personality to be heard, or the kind of dynamic ideas that could give it the ability to totally dominate a room.
    • 80 Metascore
    • 60 Critic Score
    Weirder tracks such as ‘System 100’ break the routine a bit, but it’d be nice to hear Moiré’s huge production skill with more variation of tone.
    • 79 Metascore
    • 60 Critic Score
    Despite its length, it's not pushing any boundaries: it's smooth and sweet, with nothing to give you nightmares, but as a piece of high-class chillout music, it works very well.
    • 78 Metascore
    • 60 Critic Score
    A texturally rugged selection with plenty of technical dexterity along the way maintains a bumping tempo--in turn, completing a solid trio of mixes themed around one of the Capital’s leading residencies.
    • 78 Metascore
    • 60 Critic Score
    Another patchy long-player from a proven producer.
    • 77 Metascore
    • 60 Critic Score
    Groundbreaking it may not be, but Huxley brings a touch more class than some of his contemporaries.
    • 77 Metascore
    • 60 Critic Score
    The squelchy synths and intergalactic funk of the record's first half stand tall, but at 20 tracks long, it becomes a tad tiresome at the halfway mark.
    • 77 Metascore
    • 60 Critic Score
    Love School Of Seven Bells and The XX? You'll like this.
    • 76 Metascore
    • 60 Critic Score
    Even when the groove lessens, doubters are liable to be persuaded by their innate knack for epic choruses.
    • 76 Metascore
    • 60 Critic Score
    The results, all shimmering synths and echo effects noodle along on 4/4, often for the best part of seven minutes, and we can't help but feel that some of this has been done before.
    • 75 Metascore
    • 60 Critic Score
    With only six new songs (and just seven tracks in total), it could have been a longer trip.
    • 75 Metascore
    • 60 Critic Score
    Although some of the arrangements and electronic embellishments are lavish, there are few obvious peaks and troughs apart from the epic throb of ‘Thea’.
    • 74 Metascore
    • 60 Critic Score
    Little Red’s desire to tread new ground is admirable and, in principle, the idea of Katy going head-to-head with US r’n’b singers is great, but the quality is simply not as dynamic, hook-laden or convincing as the first five songs.
    • 74 Metascore
    • 50 Critic Score
    Heartfelt lullabies backed by rich instrumentation make for a promising enough first half that leads to the dour title track. From here, razor-blade distortion, crashing cymbals and mournful torment combine to create a tough listen, before respite eventually comes in the form of an exhausted outro.
    • 73 Metascore
    • 60 Critic Score
    They’re solid tracks though few approach his greatest moments.
    • 73 Metascore
    • 60 Critic Score
    Despite falling short of its higher-octane predecessor, this difficult second album isn’t without its moments.
    • 73 Metascore
    • 60 Critic Score
    Is it a fun, well-selected mix to throw on at a party and dance to? Yes. And, sometimes, that's enough.
    • 72 Metascore
    • 60 Critic Score
    II
    It drifts from merely being waftily pretty to really elegant to sublime and back with the greatest ease, which can be frustrating--but those sublime moments are enough to make you come back for more.
    • 70 Metascore
    • 60 Critic Score
    This is a largely dejected and sombre affair that is perhaps only for those of a darker disposition.
    • 70 Metascore
    • 60 Critic Score
    Mostly it's party music, pure and simple.
    • 69 Metascore
    • 60 Critic Score
    Fun, if a little two-dimensional.
    • 69 Metascore
    • 60 Critic Score
    It can be difficult listening, but stick with Prinz's half-spoken vocals and Horn's snaking basslines, and your reward is an album of raw, rhythmic energy.
    • 69 Metascore
    • 60 Critic Score
    As culturally diverse as it all is, it’s the tonal depth of the assembly that creates an engaging synergy.
    • 68 Metascore
    • 60 Critic Score
    As it is, the high points still make this essential, but shorn of a few tracks, this album would be so much better.
    • 68 Metascore
    • 60 Critic Score
    At points it’s utterly lovely--you can’t beat the combination of strings and Tony Allen’s drumming--but at others it’s slightly silly.
    • 68 Metascore
    • 60 Critic Score
    A charming, understated record.
    • 67 Metascore
    • 60 Critic Score
    It’d be nice to hear voice and production crack and cut loose even more--but he’s heading in the right direction.