Mojo's Scores

  • Music
For 6,024 reviews, this publication has graded:
  • 54% higher than the average critic
  • 3% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 1.4 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 Skeleton Tree
Lowest review score: 10 Milk Cow Blues
Score distribution:
6024 music reviews
    • 66 Metascore
    • 90 Critic Score
    It is Kweli's diligently intelligent worldview, dextrous wordplay and often breathtaking flow that enrapture. [Jan 2005, p.96]
    • Mojo
    • 75 Metascore
    • 90 Critic Score
    This is a raging leviathan of a set, each track a powerful, swaggering anthem. [May 2002, p.97]
    • Mojo
    • 76 Metascore
    • 90 Critic Score
    Paul Simon still has it.
    • 81 Metascore
    • 90 Critic Score
    604
    Despite a shared Giorgio Moroder influence, they are more DAF meets Soft Cell and early Detroit techno than a 21st century Human League.
    • 82 Metascore
    • 90 Critic Score
    Often he sings with a richness, depth and conviction worthy of Johnny Cash. [Jan 2001, p.98]
    • Mojo
    • 80 Metascore
    • 90 Critic Score
    Damon and Naomi haven't so much altered what they do as augmented it, often beautifully. The results are occasionally breathtaking.... A rare and graceful record. (Oct 2000, p.92)
    • Mojo
    • 85 Metascore
    • 90 Critic Score
    Magic.... Its rhapsodies present a portait of an artist at an early height of his powers. [Feb 2005, p.102]
    • Mojo
    • 76 Metascore
    • 90 Critic Score
    Frankly, you could get drunk just on the minutiae here. [Feb 2005, p.92]
    • Mojo
    • 75 Metascore
    • 90 Critic Score
    Listen to Frances The Mute without any prog-induced prejudice... and it emerges as the triumphant sound of a band bound only by their imagination. [Apr 2005, p.86]
    • Mojo
    • 68 Metascore
    • 90 Critic Score
    Breathtaking moments, brilliant tunes, and Breakdown, a genuinely Beatles-league pop hit. [Nov 2004, p.114]
    • Mojo
    • 74 Metascore
    • 90 Critic Score
    There's not a single weak link on this excellent record. [Aug 2005, p.100]
    • Mojo
    • 82 Metascore
    • 90 Critic Score
    Walks the same Cold War-era Bowery streets as Interpol but is not more than a half step away from lysergic brilliance. [May 2005, p.108]
    • Mojo
    • 85 Metascore
    • 90 Critic Score
    A DIY epic whose brief sorties into often spellbinding instrumental territory are pitstops in which to muse upon profound, touching or witty lyrics. [May 2005, p.95]
    • Mojo
    • 86 Metascore
    • 90 Critic Score
    Magnificent. [Jul 2005, p.100]
    • Mojo
    • 62 Metascore
    • 90 Critic Score
    A sonic quantum leap. [Jul 2005, p.100]
    • Mojo
    • 82 Metascore
    • 90 Critic Score
    An effervescent rush of melody, invention and magic. [Jan 2006, p.119]
    • Mojo
    • 83 Metascore
    • 90 Critic Score
    A brilliant second album unembarrassed about building on the strengths of the first, delivering 13 knockout tunes betraying not an ounce of flab or self-indulgence. [Nov 2005, p.94]
    • Mojo
    • 80 Metascore
    • 90 Critic Score
    By putting some warm flesh on her musical bones, Chan Marshall is punching her considerable songwriting weight. [Jan 2006, p.116]
    • Mojo
    • 82 Metascore
    • 90 Critic Score
    This is thrilling, incontrovertible evidence of a major new talent in our midst. [Mar 2006, p.102]
    • Mojo
    • 79 Metascore
    • 90 Critic Score
    2006's album of the year may have arrived early. [Mar 2006, p.104]
    • Mojo
    • 72 Metascore
    • 90 Critic Score
    Compare this latest instalment of vivid, left-wing existentialist pop with past triumphs like Mars Audiac Quintet and Emperor Tomato Ketchup, and it's every bit as good. [Apr 2006, p.102]
    • Mojo
    • 75 Metascore
    • 90 Critic Score
    An album that sounds effortless, but at times almost dissyingly diverse--imagine The White Album, but made by happy people. [May 2006, p.96]
    • Mojo
    • 78 Metascore
    • 90 Critic Score
    This is a great record for and about New Orleans and one of the best the two men have ever made. [Jun 2006, p.96]
    • Mojo
    • 72 Metascore
    • 90 Critic Score
    Every time you think you've got Idlewild figured out, it zips off in a totally unexpected new direction. [Oct 2006, p.97]
    • Mojo
    • 81 Metascore
    • 90 Critic Score
    An album of colossal strength and maturity. [Sep 2006, p.104]
    • Mojo
    • 83 Metascore
    • 90 Critic Score
    A focused tour de force. [Oct 2006, p.100]
    • Mojo
    • 78 Metascore
    • 90 Critic Score
    If only all pop music could be this smart and soulful. [Dec 2006, p.106]
    • Mojo
    • 85 Metascore
    • 90 Critic Score
    Ys
    It is Newsom's voice that provides the stunning balm to bind this strange beauty together. [Dec 2006, p.118]
    • Mojo
    • 79 Metascore
    • 90 Critic Score
    It is Nas's poetic erudition that makes it a stone cold classic. [Mar 2007, p.100]
    • Mojo
    • 80 Metascore
    • 90 Critic Score
    The result is 31 minutes of constantly surprising music, more absorbing and less conventional than anything on their self-titled 2005 debut. [Feb 2007, p.102]
    • Mojo
    • 81 Metascore
    • 90 Critic Score
    Winehouse remains one of modern music's most original voices and is now emerging as arguably the finest soul singer of her generation. [Nov 2006, p.116]
    • Mojo
    • 86 Metascore
    • 90 Critic Score
    A fantastic consolidation of everything good about LCD. [Apr 2007, p.108]
    • Mojo
    • 82 Metascore
    • 90 Critic Score
    This is unmistakeably the Arctics, only stronger, harder, sharper, faster.... An extraordinary and fulfilling sequel to their debut. [May 2007, p.100]
    • Mojo
    • 72 Metascore
    • 90 Critic Score
    Like [Brian Wilson's] Smile, it extends the language of pop, setting a fearsome standard for anyone equal to the challenge of matching his limitless invention. [Jun 2007, p.98]
    • Mojo
    • 64 Metascore
    • 90 Critic Score
    The result is their best and most thematically complete album since Achtung Baby. By turning towards their past, U2 have found their way back to the future. [Nov 2014, p.88]
    • 76 Metascore
    • 80 Critic Score
    Equal parts fierce and sprightly. Excellent. [Jan 2003, p.93]
    • Mojo
    • 82 Metascore
    • 80 Critic Score
    ()
    The album rocks, its symphonic depth and stratosphere-surfing melodies more affecting with each subsequent listen. [Jan 2003, p.98]
    • Mojo
    • 70 Metascore
    • 80 Critic Score
    Another stirring record. [Feb 2003, p.88]
    • Mojo
    • 62 Metascore
    • 80 Critic Score
    There's a moving intimacy and improvisational feel to the wistful, late night, piano songs. [Apr 2003, p.108]
    • Mojo
    • 77 Metascore
    • 80 Critic Score
    The album is packed with sunny tunes which carry a '60s and '70s feel, but Prewitt never coasts. [July 2002, p.104]
    • Mojo
    • 84 Metascore
    • 80 Critic Score
    Musically, it's the richest record of Pulp's career.... We Love Life isn't perfect, but it is vital. [Nov 2001, p.96]
    • Mojo
    • 69 Metascore
    • 80 Critic Score
    You have wit, wisdom, and yet another Adamson sonic script you wish someone would film. [Oct 2002, p.100]
    • Mojo
    • 77 Metascore
    • 80 Critic Score
    Stalking drumbeats collide with lush chords and Joel Cadbury's smoky vocals for an emotionally fragile record. [May 2004, p.104]
    • Mojo
    • 69 Metascore
    • 80 Critic Score
    Great tunes delivered in ways you'd never dreamed of. [Oct 2001, p.122]
    • Mojo
    • 81 Metascore
    • 80 Critic Score
    The best solo album of her career. [May 2003, p.90]
    • Mojo
    • 72 Metascore
    • 80 Critic Score
    Promise of Love's cyclical episodes unravel at an amenable mid-pace, each one allowed just enough time to establish a mood bfore halting as over-familiarity threatens. [Jul 2003, p.101]
    • Mojo
    • 71 Metascore
    • 80 Critic Score
    As a whole it lacks the unity of mood the characterised White Ladder... but there is much to love. [Dec 2002, p.106]
    • Mojo
    • 63 Metascore
    • 80 Critic Score
    Some of the most powerfully surging melodies from a British band since the second Travis album. [March 2002, p.114]
    • Mojo
    • 77 Metascore
    • 80 Critic Score
    A mature and often profound record. [Dec 2002, p.102]
    • Mojo
    • 82 Metascore
    • 80 Critic Score
    Though the shadows of Wilson and Lennon/McCartney loom large over this latest psyche-pop platter, the Apples tap into a tradition of classic pop songwriting rather than merely plagiarising their ancestors.
    • 78 Metascore
    • 80 Critic Score
    It's hard to imagine a more perfectly realised Wire artefact. [Sep 2002, p.95]
    • Mojo
    • 74 Metascore
    • 80 Critic Score
    Fog
    Challenging and sometimes extraordinarily beautiful. [Mar 2002, p.108]
    • Mojo
    • 73 Metascore
    • 80 Critic Score
    The solo J. has all the heartfelt keening of Where You Been-era Dinosaur, but with a fresh approach to his trademark blending of powerchords and melodies.
    • 83 Metascore
    • 80 Critic Score
    Like the band's best '80s output, Lilac6 is the work of a bona fide songsmith. [Nov 2001, p.108]
    • Mojo
    • 68 Metascore
    • 80 Critic Score
    Less conceptually pure than its predecessor in terms of tone and motivation it may be, but Evil Heat's bespoke tailoring pays dividends time and time again. [Aug 2002, p.94]
    • Mojo
    • 84 Metascore
    • 80 Critic Score
    Full and lush, yet somehow homey and direct. [May 2003, p.97]
    • Mojo
    • 70 Metascore
    • 80 Critic Score
    An unconventional beauty. [March 2003, p.114]
    • Mojo
    • 74 Metascore
    • 80 Critic Score
    It's his skill as a bruised, intimate narrator that makes this album such an alluring addition to Doe's swelling canon. [Feb 2003, p.90]
    • Mojo
    • 64 Metascore
    • 80 Critic Score
    The difference on this album is that their amps and tempos are turned up and their sound is pared down. [Jan 2003, p.102]
    • Mojo
    • 79 Metascore
    • 80 Critic Score
    Thrilling. [May 2003, p.106]
    • Mojo
    • 79 Metascore
    • 80 Critic Score
    The thread which binds is Merchant's seductive, bittersweet voice, something which quickly finds the richer you, than nourishes it. [Dec 2001, p.104]
    • Mojo
    • 79 Metascore
    • 80 Critic Score
    While the music is a combination of old Smog and new... there's a freshness here, a sense of change, and most remarkable, a real empathy on display. [May 2003, p.89]
    • Mojo
    • 71 Metascore
    • 80 Critic Score
    Largely an enjoyable exercise in the perversion of the three-minute pop song. [Nov 2002, p.110]
    • Mojo
    • 75 Metascore
    • 80 Critic Score
    Hersh's voice is measured, husky, and quietly defiant, the sound of the [Throwing] Muses' ambient alter ego. [Apr 2003, p.97]
    • Mojo
    • 72 Metascore
    • 80 Critic Score
    A real emotional rollercoaster ride. [Apr 2003, p.102]
    • Mojo
    • 81 Metascore
    • 80 Critic Score
    Sound[s] like a typical Elephant 6-related band--absolutely fantastic. [May 2003, p.108]
    • Mojo
    • 80 Metascore
    • 80 Critic Score
    Pig Lib is full of as many little mysteries as it is revelations. [Apr 2003, p.91]
    • Mojo
    • 76 Metascore
    • 80 Critic Score
    If beauty and ambition be the defining values of that album title concept, they're served up here in spades.
    • 67 Metascore
    • 80 Critic Score
    He sounds like a cross between Sonic Youth and Massive Attack, and the results are immediately convincing. [Apr 2003, p.100]
    • Mojo
    • 76 Metascore
    • 80 Critic Score
    Surprisingly much more accessible than the idea first sounds. [May 2003, p.106]
    • Mojo
    • 71 Metascore
    • 80 Critic Score
    A triumph, possessing a universal appeal that extends beyond the dancefloor straight to the heart. [Sep 2001, p.100]
    • Mojo
    • 68 Metascore
    • 80 Critic Score
    Rarely has any modern band made The Difficult Third Album sound so breezy... [May 2001, p.96]
    • Mojo
    • 82 Metascore
    • 80 Critic Score
    On a couple of tracks here he feels the need to introduce some lame house beats and equally passe drum'n'bass, which is a shame because the rest of the time he creates a vocabulary that's utterly his own. [Jun 2003, p.100]
    • Mojo
    • 70 Metascore
    • 80 Critic Score
    This band could, and should, go mega. [Jan 2003, p.99]
    • Mojo
    • 75 Metascore
    • 80 Critic Score
    Aural absinthe. [Jul 2003, p.115]
    • Mojo
    • 81 Metascore
    • 80 Critic Score
    Imagine the Bronte sisters trying to play Yo La Tengo music on Air's instruments with Joe Meek producing.
    • 84 Metascore
    • 80 Critic Score
    The rehearsal-room feel of Mwng succeeds in capturing the organic, woody, mystical atmosphere that was sometimes missing from its highly-polished, heavily-digitised predecessors.
    • 88 Metascore
    • 80 Critic Score
    The balance between Joe's resigned words and uplifting melodies remains sublime. [Aug 2003, p.100]
    • Mojo
    • 73 Metascore
    • 80 Critic Score
    A mellow, tender, easy album...
    • 71 Metascore
    • 80 Critic Score
    It's a glorious entente of old and new technology. [Jul 2003, p.101]
    • Mojo
    • 81 Metascore
    • 80 Critic Score
    Beth's vocals are startling. [Jun 2003, p.100]
    • Mojo
    • 76 Metascore
    • 80 Critic Score
    Unlike many of dance culture's dedicated dilettantes, theirs is a smooth and millifluous whole, underpinned by the gentle pulsing of liquid bass lines.... Delightful. [Sep 2000, p.94]
    • Mojo
    • 74 Metascore
    • 80 Critic Score
    Up
    A sometimes disturbing, but often breathtakingly lovely record. [Oct 2002, p.98]
    • Mojo
    • 82 Metascore
    • 80 Critic Score
    Blissed out, beautiful... and quite probably bonkers, with Dilate Bardo Pond seem intent on redrawing their personal cosmos's final frontiers yet again. [May 2001, p.100]
    • Mojo
    • 80 Metascore
    • 80 Critic Score
    Has a pronounced acoustic bent. [May 2003, p.95]
    • Mojo
    • 76 Metascore
    • 80 Critic Score
    Unfolds like a hand-stitched musical patchwork quilt, gently educating its listeners in the great American songster tradition. [Apr 2003, p.114]
    • Mojo
    • 77 Metascore
    • 80 Critic Score
    Twelve years after the band split, it's immensely reassuring to hear Forster deliver lines only he could have written in his bruised, laconic, declamatory tone...
    • 64 Metascore
    • 80 Critic Score
    [Richard] Warren still makes great pop music--free of formula but full of character.
    • 70 Metascore
    • 80 Critic Score
    Among their best. [Sep 2002, p.104]
    • Mojo
    • 80 Metascore
    • 80 Critic Score
    There's still a warm heart beating under all this newly-assembled machinery.
    • 69 Metascore
    • 80 Critic Score
    An album as confrontational and consistent as Public Enemy's Apocalypse '91. [Feb 2002, p.93]
    • Mojo
    • 70 Metascore
    • 80 Critic Score
    Countless moments of sheer melodic magic. [Dec 2001, p.116]
    • Mojo
    • 68 Metascore
    • 80 Critic Score
    As with all Stephin Merritt productions, the real stars are Stephin Merritt's wonderful songs, and the 14 love songs on Hyacinths And Thistles are as sweet and prickly as the title suggests.
    • 75 Metascore
    • 80 Critic Score
    The winnowing, soul-pop sheen of the hit-yielding Soul Mining and Infected is long gone, replaced by an overall grungey, corrosive edge which indicates that Johnson bought up every last piece of analogue gear in town.
    • 71 Metascore
    • 80 Critic Score
    A compelling blend of 21st Century world music. [May 2003, p.106]
    • Mojo
    • 70 Metascore
    • 80 Critic Score
    This is her best to date, but she'll be better yet. [Sep 2002, p.102]
    • Mojo
    • 65 Metascore
    • 80 Critic Score
    It's impressive stuff. [Jan 2003, p.100]
    • Mojo
    • 75 Metascore
    • 80 Critic Score
    The surface mayhem actually masks an admirable craft. [Aug 2004, p.96]
    • Mojo
    • 72 Metascore
    • 80 Critic Score
    Despite such flamboyant touches, the songs here are more caustic than camp. [Oct 2003, p.120]
    • Mojo