Mojo's Scores

  • Music
For 6,304 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 Blue Lines: 2012 Mix/Master
Lowest review score: 10 Milk Cow Blues
Score distribution:
6304 music reviews
    • 82 Metascore
    • 90 Critic Score
    There's no easy niche in which you can place this new statement: like Dylan's Time Out Of Mind, it ventures into a doomy, mythological area, where the directions are muddied and the heartbreak is total. [Jul 2001, p.98]
    • Mojo
    • 83 Metascore
    • 90 Critic Score
    It is quizzical, troubled, socially concerned, compassionate, schizoid, retro-eclectic, strikingly modern, racially mixed--and even likes women. [Apr 2002, p.112]
    • Mojo
    • 80 Metascore
    • 90 Critic Score
    Sits to the right of the likes of Philip Glass and Glenn Branca while outdoing the experimentalism of either Radiohead or Sigur Ros. [Jan 2003, p.98]
    • Mojo
    • 73 Metascore
    • 90 Critic Score
    Her songs, paradoxically both epic and intimate, shimmer and pulsate as their kaleidoscopic images and mysterious characters drift in and out of focus.
    • 81 Metascore
    • 90 Critic Score
    Here, backed only by guitar or piano, she inhabits other singers' material (including Smog's "Red Apples") with a fierce conviction that's often startling.
    • 78 Metascore
    • 90 Critic Score
    The work of a genuine individualist. [Aug 2001, p.108]
    • Mojo
    • 70 Metascore
    • 90 Critic Score
    If this is to be Cash's last album, then what a magnificent way he has chosen to say goodbye. [Album of the Month, Dec 2002, p.100]
    • Mojo
    • 87 Metascore
    • 90 Critic Score
    A fabulous record, a baffling, joyful, touching, frustrating, silly, totally seductive album that you can lose yourself in for an hour, a day, a week. [Aug 2003, p.92]
    • Mojo
    • 81 Metascore
    • 90 Critic Score
    With The Private Press DJ Shadow ups even his own considerable ante. [May 2002, p.96]
    • Mojo
    • 76 Metascore
    • 90 Critic Score
    As a singer, the South Dakota-born, Ontario and Illinois-raised Colvin occupies a niche between pensive Sheryl Crow and pre-jazz Joni Mitchell: no histrionics but a telling, often moving restraint.
    • 78 Metascore
    • 90 Critic Score
    Epic, exhilarating, extraordinary. [Feb 2004, p.98]
    • Mojo
    • 84 Metascore
    • 90 Critic Score
    Godspeed have taken their by-now familiar elements and rearranged them in often beautiful or surprising ways.
    • 81 Metascore
    • 90 Critic Score
    Their debut, Mono, gave voice to little beyond their frustration, and the distance between that impressively venomous fit of black-hearted flailing and Penance Soiree's stereopathic, multiphonic attack is similar to that between Nirvana's Bleach and Nevermind. [May 2004, p.94]
    • Mojo
    • 69 Metascore
    • 90 Critic Score
    This is classic Cure. Three listens and you'll love it.
    • 75 Metascore
    • 90 Critic Score
    There's a narcotic quality to these drifting ballads, one that perfectly suits these shell shocked, terrorised times. As the world gears up for the Apocalypse, I shall take comfort in Bavarian Fruit Bread -- a very haunting, beautiful record. [Nov 2001]
    • Mojo
    • 80 Metascore
    • 90 Critic Score
    A stoner's paradise from start to finish. Most pleasurable.
    • 88 Metascore
    • 90 Critic Score
    Stories is a leaner, less experimental-sounding record than 1998's Is This Desire, its chips stacked on visceral power and vitalising vocals.
    • 89 Metascore
    • 90 Critic Score
    Choosing favourites is almost futile with so much scintillating brilliance on offer.
    • 87 Metascore
    • 90 Critic Score
    Measuring out grief and resilience with a steady hand, these are the best songs of Low's quiet career. [Feb 2001, p.98]
    • Mojo
    • 86 Metascore
    • 90 Critic Score
    Nick Lowe has made the album of his career, a dozen stories of love and loss so beautifully simple that you'll never get to the bottom of them. [Nov 2001, p.12]
    • Mojo
    • 85 Metascore
    • 90 Critic Score
    This record is full of surprises, roping in all manner of esoteria for a sweaty, beer-splattered and tune-drenched rock'n'roll party that rivals even Nevermind for balancing the pop sugar with the twisted underbelly and subtle smarts. [May 2003, p.90]
    • Mojo
    • 88 Metascore
    • 90 Critic Score
    A nearly flawless set of left-field folk. [Jun 2004, p.106]
    • Mojo
    • 83 Metascore
    • 90 Critic Score
    Sounding assured and triumphant, Scotland's finest finally have realised their true potential. [Aug 2002, p.112]
    • Mojo
    • 77 Metascore
    • 90 Critic Score
    A fabulous, strangely soothing listen. [Feb 2004, p.100]
    • Mojo
    • 89 Metascore
    • 90 Critic Score
    Since I Left You fuses dozens of different styles -- and over 600 lovingly reconfigured samples -- into one riotously enthusiastic, awesomely seamless whole. [May 2001, p.116]
    • Mojo
    • 83 Metascore
    • 90 Critic Score
    As one MOJO staffer commented, "This sounds like I'm trapped inside a damaged mechanical brain." Yes, it's that good. [May 2001, p.116]
    • Mojo
    • 79 Metascore
    • 90 Critic Score
    Arguably the band's most magical record to date. [Nov 2003, p.123]
    • Mojo
    • 72 Metascore
    • 90 Critic Score
    Glazed soul music that's both lucid and ambiguous, that chimes simultaneously with Donna Summer, John Barry and Suicide, beautifully schizophrenic and poised on the edge of ruin. [May 2003, p.91]
    • Mojo
    • 82 Metascore
    • 90 Critic Score
    The mind-boggling intricacies and moody, broody sound-sculpting on tracks like Pen Expers find Autechre zooming off, leaving their followers eating cosmic dust. [May 2001, p.110]
    • Mojo
    • 77 Metascore
    • 90 Critic Score
    While it still whispers, this third endeavour works its way into your soul.