New Musical Express (NME)'s Scores

  • Music
For 3,681 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 4.2 points lower than other critics. (0-100 point scale)
Average Music review score: 67
Highest review score: 100 AM
Lowest review score: 0 Everybody Wants To Be On TV
Score distribution:
3,681 music reviews
    • 84 Metascore
    • 60 Critic Score
    Sometimes you wish Meloy would just put away his studied thesp-schlock and say, "Man, I'm sick of singing about Victorian peasants. I got dumped once. I want to write about that..." [27 Jan 2007, p.31]
    • New Musical Express (NME)
    • 84 Metascore
    • 70 Critic Score
    Lurches spectacularly from lounge-jazz to avant-vaudeville and takes a pop at everything in between. [14 Jan 2006, p.34]
    • New Musical Express (NME)
    • 84 Metascore
    • 90 Critic Score
    So contagious is their enthusiasm, you could start thinking that black-clad nihilism has kept music to itself for way too long.
    • 84 Metascore
    • 90 Critic Score
    'Yoshimi...' sets yet another benchmark.
    • 84 Metascore
    • 80 Critic Score
    So, business as usual then; SFA have made another enormously enjoyable record, but one that is unlikely to ‘do an Elbow’ and suddenly make them a serious mainstream proposition again.
    • 84 Metascore
    • 100 Critic Score
    This music is the electronic, Warp-inspired answer to Brian Wilson's 'Smile.' [31 Jul 2004, p.41]
    • New Musical Express (NME)
    • 84 Metascore
    • 80 Critic Score
    Whereas Mogwai’s more recent work threatens to make a formula familiar, Fuck Buttons’ fizzling DIY laboratory still has the invention and ingenuity to surprise.
    • 84 Metascore
    • 80 Critic Score
    Josef K's candy-striped take on post-punk isolationism sounds both ancient and modern. [18 Nov 2006, p.31]
    • New Musical Express (NME)
    • 84 Metascore
    • 90 Critic Score
    Much like the title of his debut, Indiana’s curious ringmaster Stith is a contradiction in terms. Don’t be put off--he’s a contradiction worth losing yourself to.
    • 84 Metascore
    • 70 Critic Score
    Joey Burns and Paul Niehaus from Calexico take part on 'The Shepherd's Dog,' dovetailing neatly with Beam's vividly personal lyrics and ear for gentle, haunting melody.
    • 84 Metascore
    • 80 Critic Score
    His skill rests in the realisation that you can't airbrush soul: so, instead of smoothing rough edges, these cuts of cyborg funk fidget with digital tics and gasps. [11 Jun 2005, p.67]
    • New Musical Express (NME)
    • 84 Metascore
    • 80 Critic Score
    As an exercise is sounding totally, defiantly alive, it is a complete success.
    • 84 Metascore
    • 70 Critic Score
    This is a gorgeous album, but sacrifices had to be made. They’ve undeniably lost something that made them special in the first place.
    • 84 Metascore
    • 70 Critic Score
    A veritable swoon of a record. [7 Jan 2006, p.28]
    • New Musical Express (NME)
    • 84 Metascore
    • 70 Critic Score
    What saves this record from being another wallow in the misery of post-fame existence is the music.... 'We Love Life' is a grandiose, symphonic affair buoyed by succinct orchestration and white-light choral interludes.
    • 84 Metascore
    • 90 Critic Score
    A record that anyone who’s ever demanded anything interesting from rock music should hear.
    • 84 Metascore
    • 70 Critic Score
    For 37 rollicking minutes, they give it the full gun, meeting the challenge of being the biggest garage rock band in the world head-on.
    • 84 Metascore
    • 80 Critic Score
    Of late he’s adopted a sweeter, eddying Americana, and Dream River takes a turn to lush country-soul.
    • 84 Metascore
    • 80 Critic Score
    Remembering, reinventing and emerging with a record as joyful as it is tear-stained, Twin Shadow has crafted something that's understatedly, subtly, almost perfect.
    • 84 Metascore
    • 80 Critic Score
    Awesome.
    • 84 Metascore
    • 80 Critic Score
    It's a collection of ludicrously fresh-sounding, short and sharp material (the majority of tracks are under two-and a-half minutes) that confirms he's in the midst of a seriously impressive rebirth.
    • 84 Metascore
    • 80 Critic Score
    ESG remain a no-wave New York group unlike any other.
    • 84 Metascore
    • 90 Critic Score
    By any criteria an astonishing work.
    • 84 Metascore
    • 80 Critic Score
    This stunning second album... exudes brash, chaotic energy from every pore. [12 Jun 2004, p.48]
    • New Musical Express (NME)
    • 84 Metascore
    • 80 Critic Score
    A mix album of sheer quality.... This should be the soundtrack to every party this summer.
    • 84 Metascore
    • 80 Critic Score
    Every so often a record pops up that seems to exist in some alien world, unscathed by hipster fads and driven forward only by its own gorgeous mindset. With 'The Violet Hour', The Clientele have made a beautifully haunting album of music to take drugs to make music to take drugs to.
    • 84 Metascore
    • 80 Critic Score
    A demented, disjointed, delicious-as-human-rump-steak modern classic. [23 Oct 2004, p.49]
    • New Musical Express (NME)
    • 84 Metascore
    • 80 Critic Score
    Route One... is an enlightening joy because it trips all over the place, from darkness to bright to fast to slow to synthetic to organic and back again, and that's not because of any one person's influence.
    • 84 Metascore
    • 80 Critic Score
    Early Fragments is exactly that--a bit fragmented, given that none of the songs were written to sit alongside each other. But as ‘Seer’ suggests, there could be quite a future for Fear Of Men, and this release could start it all.
    • 84 Metascore
    • 80 Critic Score
    Highly ambitious and original stuff, created in aid of the Scottish Love In Action charity.