Mixmag's Scores
- Music
For 450 reviews, this publication has graded:
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77% higher than the average critic
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3% same as the average critic
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20% lower than the average critic
On average, this publication grades 5.7 points higher than other critics.
(0-100 point scale)
Average Music review score: 79
Highest review score: | Xen | |
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Lowest review score: | The Mountain Will Fall |
Score distribution:
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Positive: 396 out of 450
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Mixed: 54 out of 450
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Negative: 0 out of 450
450
music
reviews
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- Critic Score
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.- Mixmag
- Posted Sep 30, 2014
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- 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.- Mixmag
- Posted Apr 10, 2012
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- Mixmag
Posted Jul 11, 2018 -
- Critic Score
It’s absolutely breathtaking in its audacity and intergalactic ambition, and even breathtakingly beautiful in places. But... it’s bloody tiring too.- Mixmag
- Posted Jun 12, 2014
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- Critic Score
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.- Mixmag
- Posted Feb 27, 2012
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- 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.- Mixmag
- Posted Mar 3, 2017
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- 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.- Mixmag
- Posted Sep 9, 2015
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- 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.- Mixmag
- Posted Jan 22, 2014
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- Mixmag
- Posted Jul 15, 2013
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- Critic Score
Groundbreaking it may not be, but Huxley brings a touch more class than some of his contemporaries.- Mixmag
- Posted Oct 28, 2014
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- 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.- Mixmag
- Posted Sep 1, 2015
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- Mixmag
- Posted Apr 25, 2012
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- Critic Score
Even when the groove lessens, doubters are liable to be persuaded by their innate knack for epic choruses.- Mixmag
- Posted Feb 6, 2013
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- 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.- Mixmag
- Posted Mar 12, 2012
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- Critic Score
With only six new songs (and just seven tracks in total), it could have been a longer trip.- Mixmag
- Posted Jul 31, 2015
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- 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’.- Mixmag
- Posted Sep 30, 2013
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- Critic Score
Too often--as on ‘The Last Of Goodbyes’, with its limp rap and doleful Burialisms--it sounds like Moby pastiching his old self. On the flip side, ‘Welcome To Hard Times’, a sunny Balearic soul shuffle, is lovely, and the ghostly piano haunting ‘The Tired And The Hurt’ contains the muscle memory of his masterpiece ‘Porcelain’, but they’re isolated sparkles.- Mixmag
- Posted Mar 1, 2018
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- 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.- Mixmag
- Posted Feb 3, 2014
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- 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.- Mixmag
- Posted Oct 6, 2015
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- Mixmag
- Posted Aug 1, 2013
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- Critic Score
Despite falling short of its higher-octane predecessor, this difficult second album isn’t without its moments.- Mixmag
- Posted Jul 25, 2013
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- Critic Score
Is it a fun, well-selected mix to throw on at a party and dance to? Yes. And, sometimes, that's enough.- Mixmag
- Posted Aug 7, 2012
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- Critic Score
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.- Mixmag
- Posted Feb 9, 2017
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- Critic Score
This is a largely dejected and sombre affair that is perhaps only for those of a darker disposition.- Mixmag
- Posted Feb 6, 2013
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- Mixmag
- Posted May 2, 2012
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- Mixmag
- Posted Apr 16, 2012
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- 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.- Mixmag
- Posted Feb 16, 2012
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- Critic Score
As culturally diverse as it all is, it’s the tonal depth of the assembly that creates an engaging synergy.- Mixmag
- Posted Feb 18, 2015
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- 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.- Mixmag
- Posted Jan 6, 2017
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- 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.- Mixmag
- Posted Nov 14, 2013
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- Mixmag
- Posted Feb 26, 2013
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- 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.- Mixmag
- Posted Feb 6, 2017
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- Critic Score
If you stop trying to hear it as grime, and listen to it as a sci-fi movie of an album, a classy electronica dream journey through a high tech Orient, then that gloss becomes a strength, and it really does stand up on its own.- Mixmag
- Posted May 12, 2014
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- Mixmag
- Posted May 13, 2014
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- Critic Score
There are a few tracks (including the two straight-ahead rap tunes and haunting closer ‘Suicide Pact’) where he does actually let the groove unfold naturally, but that just makes even more frustratingly clear how much better the rest of this record could be if only Shadow would just ease off on the tinkering and fidgeting.- Mixmag
- Posted Jun 20, 2016
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- Mixmag
- Posted Aug 14, 2012
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- Critic Score
During the more hurtling crescendos the arrangement gets a little cluttered and abrasive, but on the whole, Walking Lines is a notable addition to the shoegaze category.- Mixmag
- Posted Jan 16, 2014
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- Critic Score
If you’re a little refreshed and in the midst of a heartfelt festival singalong, things might sound different. But it’s hard to get caught up in some of the grandiose gestures on offer here.- Mixmag
- Posted Oct 4, 2017
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- Mixmag
- Posted Feb 10, 2012
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- Critic Score
Funchess' extraordinary voice will get much attention, but this is the full package.- Mixmag
- Posted Jul 11, 2012
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- Critic Score
While it’s hard not to view the five solo instrumentals as some of the strongest work here, overall Getting Closer is well worth some private investigating.- Mixmag
- Posted Jun 21, 2013
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- Critic Score
There are some moments of absolute beauty here but all too often the vocalists don’t bring the character of a Horace Andy or Tracey Thorn (or indeed 3D or Daddy G), and overall it all feels a bit slick.- Mixmag
- Posted Feb 28, 2014
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- Critic Score
This remix compilation is a Who's Who of the electronic left field, but doesn't quite retain the character of the album.- Mixmag
- Posted May 9, 2012
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- Critic Score
Reminiscent of a clumsier kind of guitar-drums-bass (plus synths) arrangement, the only remnant of Hung’s Fuck Buttons days is the privileging of drums in the mix. The rest of this unexpected foray is a trip into a post-punk and synth-pop past that needs no repeating.- Mixmag
- Posted Dec 20, 2017
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- Critic Score
Sticking with a winning formula can be commendable, but this is pales in comparison with past glories.- Mixmag
- Posted Feb 15, 2013
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- Mixmag
- Posted May 2, 2013
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- Mixmag
- Posted Oct 24, 2013
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- Critic Score
The less fluffy tunes are the best: ‘Elevate’ and ‘Go All Night’ both have old-skool house elements and a jacking groove that mean there’s more to this LP than a collection of festival sing-alongs.- Mixmag
- Posted Nov 21, 2014
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- Critic Score
Sometimes great, often fun, but mostly quite confused, it’s not a focused LP--though it’s certainly an expression of the oddness of 2014.- Mixmag
- Posted May 28, 2014
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- Critic Score
While you could argue that Soul Clap have made better tracks than the 13 on offer here, there's no doubt that EFUNK is an enjoyable party album filled with jovial invention and several major tricks up its sleeve.- Mixmag
- Posted Aug 7, 2012
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- Mixmag
- Posted Jun 19, 2014
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- Critic Score
It's not 100 per cent coherent, but especially if you get the bonus instrumental disc you'll find proof of an important talent spreading his wings.- Mixmag
- Posted Feb 10, 2012
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- Mixmag
- Posted Oct 25, 2012
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- Critic Score
This debut from Tinie Tempah producer Labrinth sits comfortably in the Kanye West school of autotuned mid-youth crisis, yet this album isn't without merit.- Mixmag
- Posted Apr 17, 2012
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