New Musical Express (NME)'s Scores

  • Music
For 3,640 reviews, this publication has graded:
  • 50% higher than the average critic
  • 4% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 4.3 points lower than other critics. (0-100 point scale)
Average Music review score: 67
Highest review score: 100 Embryonic
Lowest review score: 0 Jagged Little Pill Acoustic
Score distribution:
3,640 music reviews
    • 80 Metascore
    • 90 Critic Score
    It has the reckless spirit of a record that hasn't been over-analysed, but with an intense flurry of ideas from someone in the absolute prime of their creativity.
    • 80 Metascore
    • 90 Critic Score
    'The Contino Sessions' can mean whatever you want it to. All we know is that it feels amazing. Warhol also said that everyone would be famous for 15 minutes. Death In Vegas' glory starts now.
    • 80 Metascore
    • 90 Critic Score
    It’s a more honest, human, realistic--and totally wonderful--guide to life.
    • 80 Metascore
    • 90 Critic Score
    The album's more subdued moments--like the disarmingly sweet navel-gaze of 'Simple As This', or the folksy arm-around-the-shoulder reassurance of 'Note To Self'--are its most remarkable ones, where Bugg's voice, usually accompanied by little more than an acoustic guitar, takes on a preternatural wisdom.
    • 80 Metascore
    • 90 Critic Score
    Believe the hype, this is even better than 'Ray Of Light.' [12 Nov 2005, p.45]
    • 79 Metascore
    • 100 Critic Score
    For what it is, for what it does, for what it represents and for exposing the idiocy of people who only care about 'what it earns us', then, a truly, TRULY great pop record.
    • 79 Metascore
    • 90 Critic Score
    It is that rarest of things, a record so particular to Björk's own artistry that no-one could ever hope to replicate it.
    • 79 Metascore
    • 90 Critic Score
    An astonishing debut of cosmic country noir. [28 Aug 2004, p.57]
    • 79 Metascore
    • 90 Critic Score
    It’s a tightrope across a canyon down which many a pie-eyed baggy daredevil has fallen. Jagwar Ma make it look effortless.
    • 79 Metascore
    • 90 Critic Score
    This is one to file alongside 'American Idiot', 'Doolittle' and 'Nevermind' on your greatest US rock albums shelf.
    • 79 Metascore
    • 90 Critic Score
    Bono's genius is that his inner monologue is so huge and heroic that it matches the scale of the music. And, even more so than on 'All That You Can't Leave Behind,' the music is enormous. [13 Nov 2004, p.55]
    • 79 Metascore
    • 90 Critic Score
    Their best yet.
    • 78 Metascore
    • 90 Critic Score
    [Has] the unmistakable feel of an instant classic. [28 Jan 2006, p.34]
    • 78 Metascore
    • 90 Critic Score
    Showcas[es] Rufus as one of, if not the best songwriters of his generation. [19 Mar 2005, p.59]
    • 78 Metascore
    • 90 Critic Score
    A reverence-inspiring return.
    • 78 Metascore
    • 90 Critic Score
    Antique keyboards pulse, fretless basses thrum and a variety of voices echo in and out, underlying the trippy feel and making this pretty much the most scintillating and daring record of the year so far.
    • 78 Metascore
    • 90 Critic Score
    When your nightbus home is beset by phantasmagorical drunkards with beady, threatening eyes, when your ears are bashed by mendacious line managers and eyes beset by the violence of news/advert/news, then this incredible album is your passport to a better place.
    • 78 Metascore
    • 90 Critic Score
    What it does do, however, is remind us that he is a copper-bottomed genius.
    • 78 Metascore
    • 90 Critic Score
    The Adams of ‘Love Is Hell’ has gone out to make an album that actually is classic rock ‘n’ roll rather than one that can simply impersonate it, and sound convincing. [Review applicable to both Part 1 and Part 2]
    • 78 Metascore
    • 90 Critic Score
    A masterpiece.
    • 78 Metascore
    • 90 Critic Score
    Gruelling assault course of lyrical genius that pours itself into the 18 tracks on this album-
    • 78 Metascore
    • 90 Critic Score
    Glasser's glowing debut offers more melodic and emotional consummation than almost any of her peers can muster, poised in a genuinely transcendent golden balance between the stern, the spacious and the gaudily sparkling. A very precious Ring indeed.
    • 78 Metascore
    • 90 Critic Score
    Everything about this album boils down to escape.
    • 78 Metascore
    • 90 Critic Score
    The emotive finesse of ‘Cherry Blossoms’ might further the calls for a shoulder to blub on, but chugging full-band showstopper ‘Ramona’ shows Yellen’s songwriting to be as rich as his voice.
    • 78 Metascore
    • 90 Critic Score
    This is cold-blooded revenge pop that strikes like a shard of shattered plate to the heart.
    • 78 Metascore
    • 90 Critic Score
    A record of glorious parts that are just too weighty, too emotionally complex and rich to hang together well as a whole.
    • 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]
    • 77 Metascore
    • 90 Critic Score
    Warpaint's is a different darkness, not delighting in splendour or show, but in deftly exploring a bleak internal, romantically bereft landscape.
    • 77 Metascore
    • 90 Critic Score
    A disorientatingly great mess of free-jazz, space-rock and voodoo swamp music. [10 Dec 2005, p.37]
    • 77 Metascore
    • 90 Critic Score
    ‘Room On Fire’ is a refining and tinkering with The Strokes sound, a carefully calibrated attempt not to fuck up too early in the face of untold temptations. The results are still sleek, sexy and thrilling, with a tantalising promise of even better to come.