For 158 reviews, this publication has graded:
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45% higher than the average critic
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0% same as the average critic
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55% lower than the average critic
On average, this publication grades 8.2 points lower than other critics.
(0-100 point scale)
Average Music review score: 65
Score distribution:
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Positive: 96 out of 158
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Mixed: 40 out of 158
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Negative: 22 out of 158
158
music
reviews
- By Date
- By Critic Score
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- Critic Score
Filthy Philly rapstress ropes in famous mates, but falls short of rap superstardom.- New York Magazine (Vulture)
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Though his voice is strong and sincere throughout the album, most of the material has a certain karaoke-like vibe.- New York Magazine (Vulture)
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Sky Blue Sky shows his restlessness as an artist, his need to keep moving - not always forward, but never merely standing still, and certainly not dipping into the back catalogue for an idea or two.- New York Magazine (Vulture)
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If he hasn’t yet invented a persona intriguing enough to live up to his music, give him credit for being one of the few white men still brave enough to make black music.- New York Magazine (Vulture)
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Too much of Aerial fades into a soft-focus background of soothing synthesizers, murmuring bass, and twittering birdsong.- New York Magazine (Vulture)
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It is a noble effort, modeled on Bob Dylan’s Blonde on Blonde, but the results are underwhelming.- New York Magazine (Vulture)
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Your level of interest in their music probably correlates with your willingness to be bored.- New York Magazine (Vulture)
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Many of these songs are thin schematics for “perfect” pop songs. They’re impressive in their commitment to formula--deploying catchy, whiny hooks, taut structure, loud-soft interplay, and well-timed guitar peals. Yet for all their nakedness, they offer little in the way of revelation.- New York Magazine (Vulture)
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The Massacre is as frustratingly uneven as Get Rich or Die Tryin’, but it’s longer and messier.- New York Magazine (Vulture)
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The songs, engaging as they are, sound cursory, as though Lee wrote them while riding the bus on his way to the studio, staring at his watch and an empty notebook.- New York Magazine (Vulture)
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- New York Magazine (Vulture)
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Uh Huh Herb is a disappointment, the tepid, not-quite-there record that many artists seem to make after hitting a career peak.- New York Magazine (Vulture)
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- New York Magazine (Vulture)
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Endlessly pleasing (or trying to please), Feels Like Home dilutes even Jones’s brand of comfort-food jazz, grinding it down to something like a chewy gob of baby food.- New York Magazine (Vulture)
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The songwriting is scattershot... and the sound strains for punk-on-a-budget but is as three-chord conservative as other retro acts like Rancid and the Distillers.- New York Magazine (Vulture)
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The carefully constructed sonics, though beautiful, can be so snoozily contemplative.- New York Magazine (Vulture)
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The note that truly dooms Diary is thematic, not musical. The disc collapses under the weight of one song about heartbreak after another.- New York Magazine (Vulture)
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Once in a Lifetime shies away from the Talking Heads’ life force. It presents them as winking ironists, not the true black-music believers that they were.- New York Magazine (Vulture)
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Putting Naked together was likely satisfying for McCartney, but like a lot of inherently selfish artistic endeavors, it’s somewhat less rewarding for everyone else.- New York Magazine (Vulture)
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- New York Magazine (Vulture)
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Without question, 50 Cent has one of the most distinctive voices in hip-hop: He raps in a molasses-slow, beyond-laconic drawl, and chants in a singsongy patois reminiscent of dance-hall stars like Sean Paul. But there isn’t enough invention in the rhymes, and, worse, barely any humor.- New York Magazine (Vulture)
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Charitable fans and critics will probably seize on the few sparks generated by 3D to eulogize TLC as vanguards. The truth -- that their riskier impulses were often tamped down by a conservative industry -- is somewhat more depressing.- New York Magazine (Vulture)
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Timberlake and the Neptunes work hard at creating memorable songs, an admirable undertaking given the pathetic state of songwriting in pop music. But little more is expressed in songs like "Señorita" and "Take It From Here" than flowery notions of romance or brusque come-ons.- New York Magazine (Vulture)
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Beck desperately aims for Johnny Cash's funereal blues, but the unremitting bleakness of Sea Change more closely resembles alternative rock's limpid whine.- New York Magazine (Vulture)
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The Eminem Show has pretensions toward real life, but it possesses all the resonance and revelation of a sitcom.- New York Magazine (Vulture)
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- New York Magazine (Vulture)
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Ironically, little on the album captures the imagination the way narrower genres like techno, house, or even hip-hop often do- New York Magazine (Vulture)
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- New York Magazine (Vulture)
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It's full of the same monochromatic balladry and hipster references of its recent albums.- New York Magazine (Vulture)
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Like her awkward lyrical ventures into S&M and bisexuality on The Velvet Rope, songs like "Love Scene (Ooh Baby)" and "When We Oooo" aim for hot-and-heaviness but have the chilliness of her brother's famous televised kiss with Lisa Marie Presley.- New York Magazine (Vulture)
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