New Musical Express (NME)'s Scores

  • Music
For 3,444 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 4.4 points lower than other critics. (0-100 point scale)
Average Music review score: 67
Highest review score: 100 Whatever People Say I Am, That's What I'm Not
Lowest review score: 0 Everybody Wants To Be On TV
Score distribution:
3,444 music reviews
    • 73 Metascore
    • 90 Critic Score
    Complex and artful, there’s no need to understand fugues and canons to appreciate this--its utter perfection and joy is self-evident.
    • 72 Metascore
    • 90 Critic Score
    As Britain suffers from youth unemployment and economic crisis, our greatest currency is the chime of a golden tune. Peace have delivered 10 of them.
    • 72 Metascore
    • 90 Critic Score
    King Night is sick. Not just in the sense that it's outstandingly good but in the fact that it seems extremely unwell.
    • 72 Metascore
    • 90 Critic Score
    Taking Mangum’s recorded-on-cardboard lo-fi folk epics as their ground zero, TRAA turn in the best alt.debut of the year.
    • 72 Metascore
    • 90 Critic Score
    All told, it's incredible this is a debut album. Accomplished, yet subtle, it works perfectly as a whole in a way all the production skills in the world couldn't replicate.
    • 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.
    • 72 Metascore
    • 90 Critic Score
    Muse have widened the goalposts and re-established what rock is allowed to stand for. Next to ‘Absolution’, even something as majestic as ‘Elephant’ sounds so painfully small.
    • 71 Metascore
    • 90 Critic Score
    They have done a hell of a lot of growing up. An immense album.
    • 71 Metascore
    • 90 Critic Score
    'Myths Of The Near Future' is charged with the same spirit which fuelled legendary rave pranksters The KLF's period of pop subversion.
    • 70 Metascore
    • 90 Critic Score
    It’s a sleeping giant of a dancefloor creeper that will be everyone’s favourite new electro album in approximately six months’ time.
    • 70 Metascore
    • 90 Critic Score
    This is an album of genuine depth, one expressing the nervous conservative shockwaves which charge through party kids once they start to come down.
    • 69 Metascore
    • 90 Critic Score
    A seething, furious album; a declamatory statement against cynicism and passivity and the simple injustices of everyday life.
    • 69 Metascore
    • 90 Critic Score
    Whenever Mr Rager sets off on his next adventure we're ready, musical machetes in hand, to follow him into the undergrowth…
    • 69 Metascore
    • 90 Critic Score
    The album is beautifully structured, leading from spare and shimmery beginnings into harder, weirder and more varied territories, all those snippets and elements and personalities crafted into a shifting, subtle whole that quietly captures your attention from start to end.
    • 69 Metascore
    • 90 Critic Score
    It still defiantly goes against the grain, but also explodes with immediate, attention-grabbing riffs.
    • 68 Metascore
    • 90 Critic Score
    They’re a shaggy-haired, surf’s up pop band and painfully vulnerable all at the same time.
    • 68 Metascore
    • 90 Critic Score
    An album with a distinct dual personality, Marina’s dazzling ‘The Family Jewels’ pitches the confident, MTV Awards-headlining superstar of our dreams against a more self-deprecating girl-next-door Marina who’s dead set on Supertramping and vamping her way out of her fug.
    • 68 Metascore
    • 90 Critic Score
    '10,000Hz Legend' is nothing like 'Moon Safari', then again it doesn't really bear a resemblance to much. Instead, it's a glowing, highly ambitious, quasi-concept album that sees Air spiralling off on a wildly idiosyncratic and brilliantly insane tangent all of their own.
    • 66 Metascore
    • 90 Critic Score
    What 'Drukqs' never is, of course, is boring. It's also beautifully paced. No track sounds like the one before, even though Aphex rarely strays far from the musical palate that's served him so well in the past.
    • 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]
    • 66 Metascore
    • 90 Critic Score
    A painfully honest, emotionally draining album. [22 Jan 2005, p.49]
    • 65 Metascore
    • 90 Critic Score
    Pummelling electro punk at it's finest.
    • 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.
    • 65 Metascore
    • 90 Critic Score
    The true masters have finally awakened from their slumber.
    • 64 Metascore
    • 90 Critic Score
    Swoon is a bit of a dying whale of a record. In a good way; vast, dark, a little mysterious, sad, dignified and palpably in pain.
    • 64 Metascore
    • 90 Critic Score
    The spontaneous sounding arrangements--topped by Watson's uniquely mercurial voice--are at turns ornate, grand and subtle, but never less than totally bewitching.
    • 62 Metascore
    • 90 Critic Score
    Tribes have roared back fiercer than ever.
    • 61 Metascore
    • 90 Critic Score
    Complete and utter filth from start to finish, and that's as high a compliment as we can bestow on an album.
    • 60 Metascore
    • 100 Critic Score
    X
    They've just made the best rock album since Andrew WK's 'I Get Wet'.
    • 58 Metascore
    • 90 Critic Score
    It traverses a spacious, synth-dusted soundworld many future-dreampop miles from their girl-group and grit beginnings; the ambition will be a sonic shock to those who wanted the band to stay the 'working-class heroes' they wryly joke about being. It shouldn't, really.