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 Bavarian Fruit Bread
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    Overall, Loose Fur is kinda interesting, especially as a historical document, but it's not much more than that.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.
    • 80 Metascore
    • 60 Critic Score
    This is giddy pop-rock in Technicolor.
    • 78 Metascore
    • 60 Critic Score
    Fans of the group's previous recordings may have trouble accepting the fact that Lost in Revelry doesn't have the high melodic consistency of We're All in This Alone.
    • 77 Metascore
    • 60 Critic Score
    Group Sounds may not be astonishingly great, but it mostly rocks with the raw, excellent sound RFTC has come to own.
    • 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.
    • 75 Metascore
    • 60 Critic Score
    A solid album, turgid and at times stormy.
    • 72 Metascore
    • 60 Critic Score
    Green Day have created a great punk-meets-rock album.
    • 82 Metascore
    • 60 Critic Score
    One of the most original-sounding albums in a long while.
    • 72 Metascore
    • 60 Critic Score
    It's spontaneous and weird and, while its initial thumping may turn off those liking their trip-hop controlled, those who are ready to sweat a little will be rewarded by this unique duo's evolving imagination.
    • 85 Metascore
    • 60 Critic Score
    Sprawling, overwrought, unkempt rock music.
    • 73 Metascore
    • 60 Critic Score
    Nick Cave, no mistake about it, is still a major talent, and Nocturama isn't nearly as bad a mid-career flop as Lou Reed's Mistrial or David Bowie's Never Let Me Down.... But nevertheless, this is also far from essential Nick Cave, as most longtime fans will immediately discern.
    • 84 Metascore
    • 60 Critic Score
    The only real problem with Hearts of Oak is that the band still can't make their less immediately compelling tracks sound as electric and urgent on record as they do when the Pharmacists tear up the stage.
    • 66 Metascore
    • 60 Critic Score
    While these are accomplished musicians distilling their favorite musical influences, they fail to transcend those influences.
    • 84 Metascore
    • 60 Critic Score
    While appreciating Yoshimi for its merits poses little problem, actually enjoying it is more difficult.
    • 72 Metascore
    • 60 Critic Score
    Rather than letting one in on the game, Lafata's lyrics keep things at comic/ironic distances, where they're shrouded in the mystique of embodying pop-cultural critique.
    • 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.
    • 77 Metascore
    • 60 Critic Score
    It is, in such, truly great, or truly arrogant, or truly conceited, or truly preposterous, or truly confused, or truly bemused, or truly profound, or truly magnificent. Or maybe all of these things. At once. Or at times.
    • 85 Metascore
    • 60 Critic Score
    For those devoted to this rock band's increasingly artistic gear, Gibbard's a bard spinning pop-song sonnets that cause such constituents of fandom to reel real deep in some crooning-along swooning induced by the lithe lyrics.
    • 78 Metascore
    • 60 Critic Score
    The set works like a spun-up set of carefully collated cuts, sequenced with stuck-tape-over-the-tabs-in-the-corners mix-tape affection that makes the whole seem like a sticky-sentimented sentimental love letter to the boys' record collections.
    • 76 Metascore
    • 60 Critic Score
    The chaff-to-wheat ratio remains distressingly unbalanced on Torino.
    • 61 Metascore
    • 55 Critic Score
    Brings to mind an image of someone stuck on a treadmill who has been fooled into believing that he's actually moving forward.
    • 71 Metascore
    • 55 Critic Score
    The music here tries to be as unobtrusive as possible, its plasticky tone and carefully shined finish constructed to contrast with the earnest soulfulness of Usher's singing. And it's in his words that the album finds the substance that it does have.
    • 82 Metascore
    • 55 Critic Score
    Fleeting moments of genius flanked by sketchy songs... [and] curious, dense production burying Eitzel's amazing voice under layers of maudlin instrumentation.
    • 70 Metascore
    • 55 Critic Score
    Feels a little bit contrived, at times, an elaborate game of dress-ups unleashed under the unlikely title This Is for Real -- a claim which, if not deliberately ironic, sure seems the complete opposite of the fabricated fashion-conscious compilation-of-quotations that the album actually is.
    • 62 Metascore
    • 55 Critic Score
    Auf der Maur plays the kinda late-'90s alt-rock that Veruca Salt's debut (American Thighs, the one with "Seether") hinted at (too bad this isn't the late '90s...).
    • 78 Metascore
    • 55 Critic Score
    His weighty messages are duly noted. Unfortunately, they're delivered so acrimoniously that the overwhelming lack of fun in the music makes his albums a chore to listen to.
    • 66 Metascore
    • 55 Critic Score
    The problem with Warnings/Promises is the material: the band failed to bring enough good song ideas with them when they went into the studio.
    • 77 Metascore
    • 55 Critic Score
    His party peaks too early, though, with the gear soon settling into a middling middle, where the songs start to sound less distinct, and the changes start to become less pronounced, and interest starts to lag, and where, eventually, like a desperate host hoping to keep the party going, Hebden stacks on break after break in a gallant attempt to remind you that the disc is actually playing.
    • 59 Metascore
    • 55 Critic Score
    The gear is buffed to such a productional sheen that its every sound seems like a reflective surface, the compositional complexity leading to an album as confusing -- and, ultimately, distancing -- as a hall of mirrors.
    • 65 Metascore
    • 55 Critic Score
    Just another bloated arena show.
    • 51 Metascore
    • 55 Critic Score
    His songwriting shine is soon obscured behind the dark clouds of densely layered home recording.
    • 71 Metascore
    • 55 Critic Score
    An abundance of morose, meandering material in search of a hook.
    • 78 Metascore
    • 55 Critic Score
    Up Above Is, in such, a gentle enough jam to work/non-work in an incidentalist sense; but compare it to folk that do this sort of gear with a fearsome seriousness -- like, most obviously, the Vibracathedral Orchestra -- and T&C come up as pale as a Midwestern mid-winter tan.
    • 70 Metascore
    • 50 Critic Score
    While the pair probably had a lot of fun making the record, unfortunately, it isn't the most enjoyable listen.
    • 74 Metascore
    • 50 Critic Score
    . Ditching some of the more Cali-like, pop-like and psych-like vestments of past longplayers, Argyle Heir finds the quartet-cum-sextet making the most medieval indie-rock this side of dungeon-dancing Helium honcho Mary Timony.
    • 80 Metascore
    • 50 Critic Score
    Ancient Melodies of the Future sounds more like "vaguely familiar melodies of the past," but so do some of the best albums in rock.
    • 80 Metascore
    • 50 Critic Score
    One problem: Common is an MC, not a musician. Which makes it difficult for him to achieve his lofty goals. Mostly he fails.
    • 68 Metascore
    • 50 Critic Score
    Bobby Gillespie and company come up short here.
    • 75 Metascore
    • 50 Critic Score
    The album's tone and tunes and imagery and such are all still on the same haunted-house/boat-of-the-dead kinda kick they've kicked out on their three previous, numerically-titled jams.
    • 77 Metascore
    • 50 Critic Score
    This band's playing is so tight you wonder if the members aren't cogs in a machine.
    • 74 Metascore
    • 50 Critic Score
    The record maps for, and makes for, an unhurried listen, stringing between buttery grooves with an apparent smoker's-delight vibe; the set only goes up a notch when The Pharcyde step up to the microphone, their goofy, lithe lyricism upping the relaxed pulse for a pair of fine moments.
    • 71 Metascore
    • 50 Critic Score
    Coming up in the discothèque all disco/not-disco, Jackson's perspicacious hindsight gazes back to what was winning back in the day, now dragging it into the drag-and-drop to create pro-tooled playlist pop, its parts glued together into a seamless, shiny, mirroring whole.
    • 70 Metascore
    • 50 Critic Score
    A jangly collection of contagious pop tunes made melancholy by a dark songwriting style.
    • 75 Metascore
    • 50 Critic Score
    While previous records have consisted almost entirely of a simple guitar/vocals/drum-machine arrangement, this fourth longplayer finds different sonic deployments.
    • 66 Metascore
    • 50 Critic Score
    It's nice to see him seek stronger production; beatmeisters like RJD2 and Joey Chavez provide supple soundscapes for the Ace Man to rock over. But ol' reliable Acey kinda forgot what makes him one of the essential MCs of the last decade: ridiculous wordplay.
    • 72 Metascore
    • 50 Critic Score
    Attention to detail particularly benefits the lush and endearing "Good Fruit," the rare track wherein lovelorn earnestness replaces self-conscious repartee.
    • 78 Metascore
    • 50 Critic Score
    The only obvious goal seems to be shorter, more direct songs, delivered with more straightforward demeanor.
    • 65 Metascore
    • 50 Critic Score
    Surprisingly misguided and disjointed.
    • 68 Metascore
    • 50 Critic Score
    On their second proper longplayer, Air project that melancholy forward, depicting romantic recollections from a future world in which "technology" has attained sci-fi levels.
    • 69 Metascore
    • 50 Critic Score
    Elastica throw out crackling melodies with little regard for the listener.
    • 78 Metascore
    • 50 Critic Score
    Tindersticks have always made music that conjures up smoke: songs that are elusive, wispy and ephemeral, sung by men with somewhat rough smokers' voices. With Waiting for the Moon, unfortunately, little remains once the smoke clears.
    • 72 Metascore
    • 50 Critic Score
    Although much of the record re-verses and re-crafts melodies in the same vein, there are a few gems that can't be missed.
    • 73 Metascore
    • 50 Critic Score
    Alive to Every Smile finds TBS swanning through a set of soft-pop numbers giddy with the misty misery of melancholy and coated with the softest frostings of studio icing-sugar.
    • 69 Metascore
    • 50 Critic Score
    Rock Steady certainly isn't that good, and at times it's rather bad (usually when Ocasek gets a bit Cars). But it does have its moments, most of which come at the hands of [co-producer Nellee] Hooper...
    • 68 Metascore
    • 50 Critic Score
    Pierce seems to have lost the magic that he once seemed in total command of.
    • 68 Metascore
    • 50 Critic Score
    It's hard to figure out exactly why everybody is so excited about this record.... There is something there to like -- plenty, in fact. But it is also disjointed and sometimes maddening.
    • 72 Metascore
    • 50 Critic Score
    Maladroit is the emo equivalent of '70s arena rock -- a bracingly cocky attitude that tag-teams with its partner, navel-gazing.
    • 61 Metascore
    • 50 Critic Score
    Lacking the startling mark of cool-hearted covermongers such as Cat Power and Mark Kozelek, this is still an easeful album of mostly slow-blooded tunes.
    • 63 Metascore
    • 50 Critic Score
    An improvement over his lo-fi solo debut and his over-produced second disc, but it misses as often as it hits.
    • 79 Metascore
    • 50 Critic Score
    Walking With Thee isn't a rehashing of last year's Internal Wrangler; it's actually an inferior version of it.
    • 71 Metascore
    • 50 Critic Score
    As forward-thinking as this sounds, it just kind of makes Gorillaz an Archies/Josie & The Pussycats for the new millennium. It also makes them and their album fit in with everyone else in the progressive hip-hop canon, all of whom see fit to make slightly ludicrous concept records.
    • 80 Metascore
    • 40 Critic Score
    Just like every other record Malkmus has been involved with, it doesn't feel like an album, doesn't feel like one whole work, doesn't feel focused, or of some specific intent. Pig Lib sounds rambling and goofy and slump-shouldered and half-assed and happened-upon and lazily comfortable with every step that it takes.
    • 72 Metascore
    • 40 Critic Score
    They're trapped by this, their one-trick shtick; it the same old song, played again, Sam, for all those girls in white belts who won't stop 'til they get enough.
    • 61 Metascore
    • 40 Critic Score
    In the future the restless, insecure South-men may perhaps harness their broad tastes into a more cogent sound, but From Here On In finds them a well-produced but overly expansive mess.
    • 82 Metascore
    • 40 Critic Score
    Boy, is it a sprawling mess.
    • 59 Metascore
    • 40 Critic Score
    [A] tired, uninspired collection of music and songs.
    • 69 Metascore
    • 40 Critic Score
    Their new pop direction finds them drifting about, directionless as opposed to eclectic.
    • 70 Metascore
    • 40 Critic Score
    The glassy-eyed micro-manic bass-'n'-breaks belligerence on show-offy tracks on this Squarepusher longplayer is either tellingly tired or terrifically tiring, with Jenx's wicked licks of brown-note boogie either spuriously slow in the foot or a swift kick to the collective ass of a collectively ass-kissing musical community.
    • 73 Metascore
    • 40 Critic Score
    All for You is, for the most part, signature Janet.
    • 75 Metascore
    • 40 Critic Score
    While the sound is often thick -- layers of dewy guitars, keyboards, old organs, bass, drums/beats -- it's always concerned with the "space" of the piece, such thickness often casting insular environments in which Eitzel's voice can wander lonely.
    • 54 Metascore
    • 40 Critic Score
    Their debut album flits between uneasy ambient pieces, pop songs buried in layers and loops, and crunchy takes on the IDM sound.