New Musical Express (NME)'s Scores

  • Music
For 4,407 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 3.4 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 These Were The Earlies
Lowest review score: 0 Everybody Wants To Be On TV
Score distribution:
4407 music reviews
    • 74 Metascore
    • 80 Critic Score
    More adventurous and free-spirited than the Warpaint of before, but retaining the laid-back DNA at their core. For once, Warpaint sound like they’re having fun--and it suits them.
    • 70 Metascore
    • 60 Critic Score
    The uncluttered production always feels reasonably on-trend, but too often these songs just aren’t catchy or inventive enough to be truly memorable. The result is another pretty decent album that doesn’t quite ignite.
    • 79 Metascore
    • 80 Critic Score
    Shape Shift With Me is an excellent album, Grace an essential cultural figure.
    • 74 Metascore
    • 80 Critic Score
    In terms of melody, Femejism is a more outwardly pop-leaning record than their debut, but the duo are still as heavy as Black Sabbath when they want to be.
    • 87 Metascore
    • 80 Critic Score
    As with her previous efforts Olsen’s unique vocal steals the show, but this is the singer opening up all the other parts to her personality. The more we see, the more there is to love.
    • 65 Metascore
    • 80 Critic Score
    AIM
    It’s always best to take what M.I.A. says with a pinch of salt bigger than the NHS would recommend but if AIM really is her last album, it feels like a fitting parting shot.
    • 95 Metascore
    • 100 Critic Score
    No other record released this year will provoke such conflicting emotions in you. Skeleton Tree is both beautiful and harrowing, hard to listen to but even harder to look away from.
    • 73 Metascore
    • 80 Critic Score
    Wild World is a triumphant pop record: unflinching in its ability to rouse listeners and unapologetic in its quest for a Number One.
    • 81 Metascore
    • 80 Critic Score
    GLA
    Battered and brutalised, Twin Atlantic’s intrinsic pop nous gains depth and credibility on ‘Overthinking’, ‘Missing Link’, ‘The Chaser’ and highlight ‘Ex El’ and a pop epic like ‘Whispers’ becomes a brooding masterpiece that makes Biffy’s ‘Mountains’ look like Peter Gabriel’s ‘Solsbury Hill’.
    • 78 Metascore
    • 100 Critic Score
    The full, colourful spectrum of Jamie is on show here, as broad as it’s ever been.
    • 71 Metascore
    • 60 Critic Score
    Glory is no masterpiece, but it’s a marked improvement on 2013’s ‘Britney Jean’, a messy attempt to merge thumping EDM tunes with supposedly reflective midtempo songs.
    • 74 Metascore
    • 80 Critic Score
    It may sound a little high-concept, but its ultimate themes of empathy and diversity are subtly communicated. Glass Animals’ melodies have an immediacy that diffuses any hint of chin-strokiness.
    • 67 Metascore
    • 60 Critic Score
    Ultimately, it’s confusion that remains at the end of Amnesty (I). Crystal Castles always were an uncomfortable band, but the bumpy conception of this album and the awkward introduction of new ideas dampen even its most teeth-chattering moments.
    • 57 Metascore
    • 60 Critic Score
    The overall effect is less like an album and more like a digitally created scrapbook--a dreamy, transportive audio roadtrip through fuzzy urban noise and peaceful rural serenity.
    • 74 Metascore
    • 80 Critic Score
    It’s Factory Floor’s second album and it’s their best.
    • 81 Metascore
    • 80 Critic Score
    Mangy Love would succeed even without lyrics. Produced leisurely with Rob Schnapf (Elliott Smith) and Dan Horne and featuring 21 extra musicians, this is McCombs’ richest ever recording. Sublime flourishes abound.
    • 80 Metascore
    • 80 Critic Score
    The occasional leaden production job remains the album’s main stumbling block. But if Giggs is unlikely to follow Stormzy into the mainstream, it’s hard to deny this record’s bleak intensity or lyrical command.
    • 81 Metascore
    • 80 Critic Score
    A Weird Exits should prove a solid fan-satisfier or entry point for newbies.
    • 71 Metascore
    • 80 Critic Score
    Ultimately, Blossoms leap from their chart-bound Trojan horse as modernist rock heroes.
    • 82 Metascore
    • 80 Critic Score
    Nao’s real flair, though, lies in embracing the old school and making it seem fresh. ‘Get To Know Ya’ and ‘DYWM’ both re-rub late ’80s soul and push it firmly into 2016 with crisp production and an effortless dancefloor feeling. More proof, if it were needed, that Nao--and her odd but addictive vocal--belongs up front.
    • 80 Metascore
    • 60 Critic Score
    Despite its dips, there are plenty of strong reasons here to keep Dinosaur Jr from extinction.
    • 78 Metascore
    • 80 Critic Score
    So alongside the creeping softness of ‘Dreamliner’--which is full of Alt-J-worthy waves of sensual electronica--we get the biggest noises the band have made to date.
    • 75 Metascore
    • 80 Critic Score
    If it was all such axe-grinding, Disaster Piece might flag--but it has vision too.
    • 74 Metascore
    • 80 Critic Score
    Viola Beach is an album that, against all odds, leaves you with a smile on your face.
    • 72 Metascore
    • 80 Critic Score
    The tunes he’s releasing are fresh and exciting.
    • 76 Metascore
    • 80 Critic Score
    This is a frequently dazzling piece of work from one of hip-hop’s most ambitious and imaginative stylists.
    • 86 Metascore
    • 80 Critic Score
    Kiwanuka has brought in the production heft of Danger Mouse, as well as up-and-comer Inflo, to seriously up the ante.
    • 79 Metascore
    • 80 Critic Score
    The album’s bittersweet introspection is complemented by samples of audio recorded by her and her documentary-maker dad.
    • 73 Metascore
    • 80 Critic Score
    The whole feel of the album is fun, shackle-free, uninhibited, but still masterfully crafted. In fact, by opening themselves up Biffy Clyro have captured the spirit of a brand-new band again.
    • 74 Metascore
    • 60 Critic Score
    Cheetah isn’t bad, but it could be the work of lesser producer.