New Musical Express (NME)'s Scores

  • Music
For 3,583 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 AM
Lowest review score: 0 Two
Score distribution:
3,583 music reviews
    • 60 Metascore
    • 100 Critic Score
    X
    They've just made the best rock album since Andrew WK's 'I Get Wet'.
    • 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.
    • 84 Metascore
    • 100 Critic Score
    This music is the electronic, Warp-inspired answer to Brian Wilson's 'Smile.' [31 Jul 2004, p.41]
    • 91 Metascore
    • 100 Critic Score
    Simply put, Strokes have every quality rock'n'roll requires from its finest exponents and Is This It is where they come together.
    • 82 Metascore
    • 100 Critic Score
    Even if you've been fortunate enough to live with these tracks over the last year or so, they still sound more vital, more likely to make you form your own band than anything else out there.
    • 81 Metascore
    • 100 Critic Score
    Ten years after their last masterpiece, The Flaming Lips have finally produced another one.
    • 86 Metascore
    • 100 Critic Score
    Let England Shake is an album that only the Polly Harvey of today could have written.
    • 87 Metascore
    • 100 Critic Score
    By assembling a cast of their favourite musicians and delving into their adolescent memories, Daft Punk have created something as emotionally honest as any singer-songwriter confessional--and a lot more fun to dance to.
    • 81 Metascore
    • 100 Critic Score
    AM
    Arctic Monkeys’ fifth record is absolutely and unarguably the most incredible album of their career. It might also be the greatest record of the last decade.
    • 88 Metascore
    • 90 Critic Score
    'Remedy' is probably as good a dance album as anyone from these Isles has produced this decade.
    • 85 Metascore
    • 90 Critic Score
    Burke delivers as pure and proper a record as you'll hear all year. If you've ever laughed or cried, you need to hear this.
    • 85 Metascore
    • 90 Critic Score
    It is its author Kieran Hebden's best work to date and confirms the prolific young soundmeister as a major talent.
    • 74 Metascore
    • 90 Critic Score
    Despite all this seemingly new wave-laden, impeccably cool, retrograde influence, 'Make Up The Break Down' is indisputably now.
    • 87 Metascore
    • 90 Critic Score
    Uniformly excellent.... Few, if any, British bands are making music quite like this right now.
    • 89 Metascore
    • 90 Critic Score
    It's thrillingly obvious that Junior Boys have made one of the year's best albums. [31 Jul 2004, p.41]
    • 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.
    • 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.
    • 89 Metascore
    • 90 Critic Score
    Soul music full of remarkable sonic ideas.
    • 92 Metascore
    • 90 Critic Score
    The eloquence, barbarism, tenderness and sweat-drenched vitality of 'Elephant' make it the most fully-realised White Stripes album yet.
    • 89 Metascore
    • 90 Critic Score
    Their world - sexual, drug-filled, and occasionally paranoid - has become progressively darker, and as such we find them nothing less than guardians of the rock flame.
    • 85 Metascore
    • 90 Critic Score
    Imagine 'Lost Souls' injected with Prozac and a huge dose of weird guitar noises that give you goosebumps from head to toe. That's 'The Last Broadcast'. It's one of those rare albums that makes sense first thing in the morning but you can still yell along to when your head's exploding.
    • 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]
    • 74 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]
    • 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.
    • 82 Metascore
    • 90 Critic Score
    The nerve of it all is breathtaking. Turbo-beats poke up a gospel-jazz revivalist meeting, a mariachi band wanders into the hazy disco sashay of 'Broken Dreams', a Gary Numan sample gets bludgeoned to credibility in the Van Helden-esque pogo of 'Where's Your Head At?'.
    • 84 Metascore
    • 90 Critic Score
    By any criteria an astonishing work.
    • 76 Metascore
    • 90 Critic Score
    Here's music for the twilight hours - feverish, contemplative, nostalgic. It resonates with the force of a thousand passionate post-club conversations in darkened, smoke-filled rooms, of intense, doomed liaisons, of youthful arrogance undercut by fear and failure.
    • 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.
    • 83 Metascore
    • 90 Critic Score
    Filled with both a clarity of instrumentation and thought, this is an album of undeniably mature work. And one which knows how to effect a large emotional impact without unsightly flexing of the muscles.
    • 69 Metascore
    • 90 Critic Score
    A seething, furious album; a declamatory statement against cynicism and passivity and the simple injustices of everyday life.
    • 87 Metascore
    • 90 Critic Score
    Their most focused, energetic pop record since 'Radiator'.... Certainly, 'Phantom Power' shows up Radiohead's timid adventures, while giving The Coral something to aim for too.
    • 74 Metascore
    • 90 Critic Score
    'Take Them On, On Your Own' is a masterpiece. You should get hold of it as soon as possible.
    • 74 Metascore
    • 90 Critic Score
    'Let It Come Down' is another towering achievement - both musically and emotionally.... This is music as it's meant to be: raw, colossal and awe-inspiring. No wonder everything else just pales in comparison.
    • 88 Metascore
    • 90 Critic Score
    PJ Harvey's best album since 1991's 'Dry', a return to the feral intensity of that remarkable debut.... The clarity of the electric guitars played by Harvey, Rob Ellis and Mick Harvey is enough to make you fall in love with elemental rock all over again.... You could quibble Harvey has absolved her responsibilities by making an album earthed in the New York sound of 20 or 30 years ago. But when rock is so invigorating, so joyous about love, sex and living, all arguments are null and void.
    • 87 Metascore
    • 90 Critic Score
    Low have always sought to make music that can both swell the heart like a gospel tune and capture the amplified absence of a funeral parlour. It's difficult to imagine a more perfect expression of their vision than this.
    • 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.
    • 83 Metascore
    • 90 Critic Score
    It's every ounce of Idlewild's potential fulfilled at once.
    • 80 Metascore
    • 90 Critic Score
    It's an album of outstanding natural beauty, an organic, wholesome work.
    • 82 Metascore
    • 90 Critic Score
    Seems that after all the pale imitators, Radiohead finally have a competitor worthy of healthy comparison.
    • 89 Metascore
    • 90 Critic Score
    'Since I Left You' is proof that while being a vinyl junkie might not make you a teen idol, crafting a joyous, kaleidoscopic masterpiece of sun-kissed disco-pop definitely will.... Cool? Sure, whatever. Brilliant? Undoubtedly.
    • 84 Metascore
    • 90 Critic Score
    A record that anyone who’s ever demanded anything interesting from rock music should hear.
    • 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.
    • 68 Metascore
    • 90 Critic Score
    They’re a shaggy-haired, surf’s up pop band and painfully vulnerable all at the same time.
    • 85 Metascore
    • 90 Critic Score
    A joyous, celestial celebration of sound.
    • 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.
    • 81 Metascore
    • 90 Critic Score
    The funniest, most refreshing British debut in years.
    • 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.
    • 84 Metascore
    • 90 Critic Score
    It's easily the electronic album of the year, but for all that, it doesn't break particularly new ground. The point more is that what ground is broken is done so with exquisite artistry.
    • 75 Metascore
    • 90 Critic Score
    An understated classic: a triumph of delicacy over decibels. [19 Jun 2004, p.56]
    • 90 Metascore
    • 90 Critic Score
    The angriest, least compromised, most utterly justified pop record in years ?
    • 88 Metascore
    • 90 Critic Score
    This is murderously good stuff. [25 Sep 2004, p.64]
    • 82 Metascore
    • 90 Critic Score
    Album of the year? It's definitely a contender. [7 Aug 2004, p.49]
    • 87 Metascore
    • 90 Critic Score
    Lyrically it's astonishing. [28 Aug 2004, p.55]
    • 80 Metascore
    • 90 Critic Score
    What you have here is the most agonisingly voyeuristic listening experience in rock, ever. It's also some of the most exhilarating and brilliant rock'n'roll of the past 20 years. [7 Aug 2004, p.46]
    • 84 Metascore
    • 90 Critic Score
    'Yoshimi...' sets yet another benchmark.
    • 74 Metascore
    • 90 Critic Score
    Daft Punk have pulled off a brilliant wheeze by re-inventing the mid-'80s as the coolest pop era ever. And not even the officially approved retro-kitsch cool of Madonna's lukewarm excursions into post-Daft terrain but all the bubble-permed, sports-jacket-and-jeans excesses they can muster.... Mostly, though, 'Discovery' is simply fantastic pop...
    • 65 Metascore
    • 90 Critic Score
    The true masters have finally awakened from their slumber.
    • 83 Metascore
    • 90 Critic Score
    A clearly adult, unfashionably sensitive document, all grace and understatement, experimental through what it leaves out, and the effects it plants in the background.
    • 92 Metascore
    • 90 Critic Score
    One of the most assured debut albums of the last five years.
    • 90 Metascore
    • 90 Critic Score
    For those of us who still believe in music's power to redeem, 'Funeral' feels like detox, the most cathartic album of the year. [5 Mar 2005, p.49]
    • 83 Metascore
    • 90 Critic Score
    A real-life pop record. Well, not pop in the Girls Aloud sense of the word obviously, more in the drop-dead, fuzz-box brilliant 'Here Comes Your Man' sense. [10 Jul 2004, p.48]
    • 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]
    • 91 Metascore
    • 90 Critic Score
    'A Grand Don't Come For Free' is proof that 'Original Pirate Material' wasn't a happy fluke.
    • 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.
    • 88 Metascore
    • 90 Critic Score
    While this is clearly not the record Smith intended to make, it's still an immensely gripping and cohesive piece of work. [23 Oct 2004, p.47]
    • 80 Metascore
    • 90 Critic Score
    One of the most exciting hip-hop releases not only of this year, but in recent memory. [27 Nov 2004, p.61]
    • 85 Metascore
    • 90 Critic Score
    The ultimate rare treasure. [24 Sep 2005, p.47]
    • 78 Metascore
    • 90 Critic Score
    Showcas[es] Rufus as one of, if not the best songwriters of his generation. [19 Mar 2005, p.59]
    • 87 Metascore
    • 90 Critic Score
    It marks the dawning of an era of British music that isn’t just for the casual petrol shop consumer, but stuff so important that you can give yourself to it completely. This is the album that’s going kick open the door for all the great British bands that’ll sweep through in their wake.
    • 84 Metascore
    • 90 Critic Score
    A miniature classic. [14 Aug 2004, p.49]
    • 77 Metascore
    • 90 Critic Score
    ATDI's latest album has its amps cranked to the hilt from start to finish. Far from being another in a long line of sanitised American punk rock albums, 'Relationship Of Command' sounds REAL.
    • 81 Metascore
    • 90 Critic Score
    By celebrating what it is to be a freak in 2004 they've made a debut that's unique yet uniting, deep yet designed for the dance-floor.
    • 97 Metascore
    • 90 Critic Score
    'Smile' stands up with any of the great music of the 20th century. [25 Sep 2004, p.63]
    • 78 Metascore
    • 90 Critic Score
    Gruelling assault course of lyrical genius that pours itself into the 18 tracks on this album-
    • 75 Metascore
    • 90 Critic Score
    It's a third album that avoids all the pitfalls of third albums: introspective without being self-pitying, expansive in scope without being pompous, exploring new directions without disappearing up its own arse.
    • 86 Metascore
    • 90 Critic Score
    The Go! Team's eclectic soundclash makes us feel deliriously dizzy. [11 Sep 2004, p.53]
    • tbd Metascore
    • 90 Critic Score
    It is one thing to make a clever record, it is quite another to make a clever record that could pass for a pop album, and which oozes humanity while simultaneously delivering a perfect snapshot of modern British life.
    • 74 Metascore
    • 90 Critic Score
    Let's Get Ready', Mystikal's fourth LP and his first Billboard chart-topper, is one wholesale fighting muthaf**ker, a full theatre of opportunities to offer the world outside. Women? Mystikal will take you down for one. Or, preferably, two. Reputation? Come see about him. Neighbourhood? You don't wanna go there... Mystikal is the fightingest bastard and his grin's never wider than when he's putting the hurt on.
    • 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]
    • 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]
    • 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]
    • 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]
    • 79 Metascore
    • 90 Critic Score
    An astonishing debut of cosmic country noir. [28 Aug 2004, p.57]
    • 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]
    • 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]
    • 82 Metascore
    • 90 Critic Score
    Lyrically lucid and sonically exciting. [11 Jun 2005, p.67]
    • 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]
    • 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]
    • 80 Metascore
    • 90 Critic Score
    Believe the hype, this is even better than 'Ray Of Light.' [12 Nov 2005, p.45]
    • 77 Metascore
    • 90 Critic Score
    A disorientatingly great mess of free-jazz, space-rock and voodoo swamp music. [10 Dec 2005, p.37]
    • 74 Metascore
    • 90 Critic Score
    A monster of a record. [4 Mar 2006, p.31]
    • 78 Metascore
    • 90 Critic Score
    [Has] the unmistakable feel of an instant classic. [28 Jan 2006, p.34]
    • 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]
    • 82 Metascore
    • 90 Critic Score
    Thank you very much, Mr Rubin--The Man In Black is still with us. [1 Jul 2006, p.36]