New Musical Express (NME)'s Scores

  • Music
For 4,293 reviews, this publication has graded:
  • 52% higher than the average critic
  • 4% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 3.5 points lower than other critics. (0-100 point scale)
Average Music review score: 68
Highest review score: 100 Whatever People Say I Am, That's What I'm Not
Lowest review score: 0 Maroon
Score distribution:
4293 music reviews
    • 82 Metascore
    • 90 Critic Score
    The objective was to make a fucking brilliant album where the mood is king, the delivery is queen and studied modern coolness is a jester that's one misplaced quip away from being the lion's breakfast. And, of course, they've succeeded.
    • 66 Metascore
    • 90 Critic Score
    A painfully honest, emotionally draining album. [22 Jan 2005, p.49]
    • New Musical Express (NME)
    • 80 Metascore
    • 90 Critic Score
    A set of immense maturity that never rubs your nose in its thematic complexity, compositional innovation and thunderous thump-beats. [29 Jan 2005, p.58]
    • New Musical Express (NME)
    • 66 Metascore
    • 90 Critic Score
    Where 'The Remote Part' was their 'Green'-esque lunge into the spotlight, 'Warnings/Promises' is their full-blwon 'Out Of Time' spectacular. But with less twangle, more teeth. [5 Mar 2005, p.50]
    • New Musical Express (NME)
    • 82 Metascore
    • 90 Critic Score
    'Silent Alarm' is no 'Franz Ferdinand'. In fact, listen to it with the words 'popular' and 'arty' in mind and its spirit is closer to the Manic Street Preachers' 'The Holy Bible'. [5 Feb 2005, p.49]
    • New Musical Express (NME)
    • 79 Metascore
    • 90 Critic Score
    An astonishing debut of cosmic country noir. [28 Aug 2004, p.57]
    • New Musical Express (NME)
    • 82 Metascore
    • 90 Critic Score
    This is an album that leaves you in absolutely no doubt that, at the very least, Pascal Arbez-Nicolas is the best thing to come out of France since Daft Punk. [30 Apr 2005, p.63]
    • New Musical Express (NME)
    • 72 Metascore
    • 90 Critic Score
    X&Y
    Confident, bold, ambitious, bunged with singles and impossible to contain, ‘X&Y’ doesn’t reinvent the wheel but it does reinforce Coldplay as the band of their time.
    • 81 Metascore
    • 90 Critic Score
    This is big, epic, widescreen music, albeit wonderfully understated. [5 Mar 2005, p.51]
    • New Musical Express (NME)
    • 82 Metascore
    • 90 Critic Score
    Lyrically lucid and sonically exciting. [11 Jun 2005, p.67]
    • New Musical Express (NME)
    • 75 Metascore
    • 90 Critic Score
    'Capture/Release' is fresh, unique, original even; its oh-so-contemporary reference points are revisited with such punk-rock vivacity and hell-for-charity-shop-leather vigour that they might be the first band you’d actually believe when they roll out the old "no, honestly, we were doing this long before we’d even heard of Bloc Party".
    • 78 Metascore
    • 90 Critic Score
    A masterpiece.
    • 83 Metascore
    • 90 Critic Score
    An album which radically extends the Franz musical palette.
    • 90 Metascore
    • 90 Critic Score
    Z
    By balancing progression with consolidation, technology with tradition, MMJ have created a work of stunningly expansive ambition. [15 Oct 2005, p.36]
    • New Musical Express (NME)
    • 88 Metascore
    • 90 Critic Score
    Slightly less lo-fi than previous efforts--although as it blends together Slayer, Japanese noisecore and warp-speed prog intricacy, sound recording fidelity is a relative concept. [5 Nov 2005, p.45]
    • New Musical Express (NME)
    • 80 Metascore
    • 90 Critic Score
    Believe the hype, this is even better than 'Ray Of Light.' [12 Nov 2005, p.45]
    • New Musical Express (NME)
    • 77 Metascore
    • 90 Critic Score
    A disorientatingly great mess of free-jazz, space-rock and voodoo swamp music. [10 Dec 2005, p.37]
    • New Musical Express (NME)
    • 74 Metascore
    • 90 Critic Score
    A monster of a record. [4 Mar 2006, p.31]
    • New Musical Express (NME)
    • 78 Metascore
    • 90 Critic Score
    [Has] the unmistakable feel of an instant classic. [28 Jan 2006, p.34]
    • New Musical Express (NME)
    • 74 Metascore
    • 90 Critic Score
    The wonder of 'Stars...' is how magnificently alive all this suburban angst sounds.
    • 77 Metascore
    • 90 Critic Score
    There's no possible way of having this much fun without getting the chorus of Handel's 'Messiah' drunk on peach schnapps. [4 Feb 2006, p.29]
    • New Musical Express (NME)
    • 82 Metascore
    • 90 Critic Score
    Thank you very much, Mr Rubin--The Man In Black is still with us. [1 Jul 2006, p.36]
    • New Musical Express (NME)
    • 75 Metascore
    • 90 Critic Score
    Muse have made a ridiculous, overblown, ambitious and utterly brilliant album, with more thrills than their previous three put together.
    • 88 Metascore
    • 90 Critic Score
    Odd, addictive, unsettling and beautiful. [8 Jul 2006, p.41]
    • New Musical Express (NME)
    • 65 Metascore
    • 90 Critic Score
    There's going to be a hearty scrap between this lot, Muse and the Monkeys when album of the year time comes round.
    • 79 Metascore
    • 90 Critic Score
    This is one to file alongside 'American Idiot', 'Doolittle' and 'Nevermind' on your greatest US rock albums shelf.
    • 81 Metascore
    • 90 Critic Score
    Put simply, this is fantasy pop, performed to perfection.
    • 77 Metascore
    • 90 Critic Score
    Even the most hardcore disciple is likely to get something they might have missed before. [21 Oct 2006, p.35]
    • New Musical Express (NME)
    • 79 Metascore
    • 90 Critic Score
    Their best yet.
    • 87 Metascore
    • 90 Critic Score
    A record with the bleak-yet-redemptive spirit of REM's 'Automatic For The People' and the musical magnificence of a 'Deserter's Songs'. But also a record that - as much as 'London Calling' or 'What's Going On' - holds a deep, dark, truthful Black Mirror up to our turbulent times.