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 0.3 points higher than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 Bavarian Fruit Bread
Lowest review score: 20 Liz Phair
Score distribution:
  1. Negative: 12 out of 474
474 music reviews
    • 97 Metascore
    • 95 Critic Score
    The magic of the album lies in the way Wilson's complex, challenging sonic vision can evoke the optimism, hope, and wonder that gave birth to this album decades ago.
    • 93 Metascore
    • 90 Critic Score
    A work of real substance, brimming with honesty, humor and beauty.
    • 92 Metascore
    • 90 Critic Score
    Boy in da Corner defies genre in a defiant manner, refusing to be defined, refusing, even, to be dismissed.
    • 91 Metascore
    • 70 Critic Score
    Even the grand indulgence in artistic artifice on A Grand Don't Come For Free -- its self-contained narrative -- seems like it's forsaking a long shelf-life, the downside of the story's "mystery" being that, once you've heard the yarn once, it's a little like you've heard it all, and all it has to offer.
    • 91 Metascore
    • 100 Critic Score
    What matters, what it all boils down to, is The Strokes write incredibly powerful songs, and those who allow the media -- or better yet their reaction to the media, what I call the anti media -- to influence their opinions are missing out.
    • 90 Metascore
    • 70 Critic Score
    In the midst of its 14 tracks, there are a couple that, if taken on their own, would qualify as throwaways. But the way the album should be heard, as a whole, each piece works with the others.
    • 89 Metascore
    • 60 Critic Score
    Luckily, the album has an easy-going air that lifts it out of the realm of smart-guy assemblage and into sexy, summery territories.
    • 89 Metascore
    • 95 Critic Score
    Record of the year.
    • 88 Metascore
    • 60 Critic Score
    Seems to be the culmination and synthesis of a solid musical progression from good, yet uncertain and unchallenging, pop music to better, more confident, but still unchallenging, pop music.
    • 88 Metascore
    • 90 Critic Score
    Listening to Hypermagic Mountain is like picking up the live end of a downed power line.
    • 88 Metascore
    • 90 Critic Score
    Whichever way you look at it, as avant-pop or cubist soul, Return to Cookie Mountain remains an intoxicating, intriguing but accessible album.
    • 88 Metascore
    • 80 Critic Score
    A dizzyingly crafted explosion.
    • 88 Metascore
    • 90 Critic Score
    This is one of the best albums of 2000.
    • 88 Metascore
    • 90 Critic Score
    This is the defining Destroyer work because of its size and scope, because of its melodicism ("Painter in Your Pocket" the hottest pop song Bejar's authored yet), because of the caliber of its musical chops, and because of the shots Bejar continues to fire.
    • 88 Metascore
    • 90 Critic Score
    The combination of timeless songs, superb production and Banhart's often mesmerizing performance make for a very strong album.
    • 88 Metascore
    • 80 Critic Score
    Björk continues to mine the fine line of minimalist lushness that her last album gave birth to; with tiny, crackling, skittery beats weaving open-toned ambient beds in which her breathy, pushed-forward vocals lithely lay, the closeness and drama of her every syllable commanding attention.
    • 88 Metascore
    • 65 Critic Score
    This final record is neither focused nor infallible, instead a rarer glimpse at a man whose creative doorways, once the source of so much hope and inspiration, had become outnumbered by his demons.
    • 88 Metascore
    • 90 Critic Score
    Moonlight, which grows more and more likeable with repeated listens, is Spoon's strongest effort yet, topping 2001's Girls Can Tell and even 1998's A Series of Sneaks.
    • 88 Metascore
    • 90 Critic Score
    As whole, the record is hardly notable for its special guests; the beauty of Antony's singing, the ferociousness of his delivery, the profundity of his songs, and the unflinching nature make the disc truly transcend such.
    • 87 Metascore
    • 90 Critic Score
    Even in the record's most strung-out moments of tension and distortion, Unwound sound nothing more than soft and sweet.
    • 87 Metascore
    • 80 Critic Score
    Musically, The Argument represents Fugazi's best collection of songs from their 13-year career.
    • 87 Metascore
    • 80 Critic Score
    It's a disc in which Dizzee diz, lyrical wiz, is more forthright as lyricist, using the blank canvas of an "album" to sketch together a thoughtful, carefully-sequenced set in which his voice, and its elastic accent, ring clear.
    • 87 Metascore
    • 60 Critic Score
    She remains utterly, excessively self-involved.
    • 87 Metascore
    • 80 Critic Score
    Things We Lost in the Fire finds Low enamoured with harmonies, drawing from such disparate sources as Swans, the Beatles, Wire, and Simon & Garfunkel.
    • 87 Metascore
    • 80 Critic Score
    Immersed in beautiful, stirring string arrangements, heartfelt melodies and an all-around warm and welcoming down-home folk feel, the new album is sincerely soothing.
    • 87 Metascore
    • 70 Critic Score
    Ágætis Byrjun is one of the most sublimely immersive albums to come along in ages.
    • 87 Metascore
    • 90 Critic Score
    YHF is a fierce record.
    • 87 Metascore
    • 70 Critic Score
    With Phrenology, The Roots have finally made an album that lives up to their potential.
    • 86 Metascore
    • 70 Critic Score
    One Word Extinguisher doesn't shock the way Vocal Studies... did but, if his debut drew the vivid hip-hop/electronic blueprint, Herren convincingly takes his plans and constructs something big with the follow-up.
    • 86 Metascore
    • 80 Critic Score
    Time (The Revelator) is ostensibly a solo album, but gives every evidence of being a near-telepathic collaboration between Welch and Rawlings, in which every element is carefully balanced to give the songs maximum impact.