Neumu.net's Scores

  • Music
For 474 reviews, this publication has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 0.2 points higher than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 Source Tags & Codes
Lowest review score: 20 Liz Phair
Score distribution:
  1. Negative: 12 out of 474
474 music reviews
    • 61 Metascore
    • 60 Critic Score
    Rainer Maria have never been more skillful in their playing or stronger in their singing than on the slickly recorded A Better Version of Me -- which some may see as a problem.
    • 70 Metascore
    • 60 Critic Score
    Easily the band's most consistent, tonally tight disc thus far.
    • 77 Metascore
    • 60 Critic Score
    Overall, Loose Fur is kinda interesting, especially as a historical document, but it's not much more than that.
    • 76 Metascore
    • 60 Critic Score
    Amongst the bubble-and-squeak, there's much audio delight to savor...
    • 76 Metascore
    • 60 Critic Score
    What's particularly exciting about this release is the second compact disc, which features an animation by Katsura Moshino, adding a bizarre visual narrative to Takemura's rich audio playground.
    • 65 Metascore
    • 60 Critic Score
    Though it's not quite the folk-pop album that some post-Head Music interviews with Anderson had foreshadowed, the ballads do outweigh the rockers, which puts the lyrics in the spotlight, for better and for worse.
    • 68 Metascore
    • 60 Critic Score
    Mind you, Kelly Jones' voice is an acquired taste. If you warm to it, however, you'll then enjoy a wealth of simple country-tinged pop songs.
    • 65 Metascore
    • 60 Critic Score
    Where Maxinquaye was both engaging and coherent, working up to a kind of weird gestalt by way of good songs and dark sounds, Blowback is hit-and-miss.
    • 72 Metascore
    • 60 Critic Score
    Atmosphere are clearly at the top of the emo-rap game; it's just not necessarily a game true schoolers will want to play.
    • 80 Metascore
    • 60 Critic Score
    While the orchestration and production are impeccable and finely crafted, it's not hard to pick out influences from the 1980s, ranging from brooding rock to pulsing synthetic pop.
    • 81 Metascore
    • 60 Critic Score
    It seems distinct from the discography that came before it (in both a good and a bad way), with intermittent moments definitely treading foreign waters, for both the band and its devoted followers.
    • 80 Metascore
    • 60 Critic Score
    The astonishing way in which the latest outing from San Franciscan deconstructionist darlings Matmos was put together is of such novel conceit it threatens to overshadow the final product.
    • 65 Metascore
    • 60 Critic Score
    Throughout Love and Distortion, the Stratford 4 convey through their music that sounding like other good bands that came before them isn't a bad thing.
    • 85 Metascore
    • 60 Critic Score
    A work of thematic and dramatic constancy.
    • 66 Metascore
    • 60 Critic Score
    As an EP, the premise of Lovage would flourish.
    • 72 Metascore
    • 60 Critic Score
    The tunes are tepid, but that's not to say they aren't enjoyable to listen to -- in fact, the songs aren't bad at all, but they're not exactly great either.
    • 70 Metascore
    • 60 Critic Score
    The album largely treads the same brazen minimal-electro territory; and most of the dick/tits/cunt-centric songs will be familiar for anyone who's seen Peaches' girlie-show shows in full-frontal effect over the past couple years.
    • 82 Metascore
    • 60 Critic Score
    All you can really do is sit back and politely applaud.
    • 68 Metascore
    • 60 Critic Score
    Buried at the 11th track on the compact disc, "Satisfaction" makes everything else on this album seem better by its presence. It's the one true standout cut, giving the album a jewel in the glittering, if ersatz, moving-outta-the-ghetto hip-hop-princess crown that Eve places on her own "bombshell" brow.
    • 73 Metascore
    • 60 Critic Score
    In the midst of all this Neptunian mastery, there are two absolutely unlistenable "rock" songs that no fan of modern productionist fervor could possibly stand listening to.
    • 72 Metascore
    • 60 Critic Score
    The strength Moorer has shown from first album to second album and finally to this genre-leaping experiment in self-recreation is enough to not only merit a listen, but to make sure we pay attention to the fourth album when it arrives.
    • 80 Metascore
    • 60 Critic Score
    Yanqui U.X.O. is the work of a band that has finally become confident in its popularity and influence.
    • 62 Metascore
    • 60 Critic Score
    No one who bought Vegas will be disappointed by Tweekend, unless they're looking for some statement of artist growth. That's the only area where this album falters. It is otherwise a solid collection of thundering Big Beat grooves.
    • 87 Metascore
    • 60 Critic Score
    She remains utterly, excessively self-involved.
    • 84 Metascore
    • 60 Critic Score
    Unwinds slowly, slipping between ghosted noise-and-field-recording passages and the sustained explosions of big, bombastic caterwaul that have become Godspeed's signature sound.
    • 80 Metascore
    • 60 Critic Score
    One-upping their previous masterwork, 1997's The Dandy Warhols Come Down, Thirteen Tales... will trip you out, especially when listened to on headphones in the post-midnight hours.
    • 71 Metascore
    • 60 Critic Score
    Spending much of its time suspended in hollowed-out tones smudged only by desolate beats, Aaltopiiri is probably Pan sonic's most intense listening experience.
    • 72 Metascore
    • 60 Critic Score
    They're merely using Psychocandy as a workaday aesthetic strategy and, despite loads of melodrama, they never sound pretentious about it either.
    • 75 Metascore
    • 60 Critic Score
    The spirit of Syd Barrett seems to loom over this record more than either of the previous Radiohead longplayers, and that's not a bad thing at all.
    • 80 Metascore
    • 60 Critic Score
    The songs on Mama's Gun slip from one to the next effortlessly, coming together as a set of sedate, buttery-smooth grooves.