No Ripcord's Scores

  • Music
For 1,889 reviews, this publication has graded:
  • 48% higher than the average critic
  • 3% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 2.4 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Now We Can See
Lowest review score: 0 Famous First Words
Score distribution:
1889 music reviews
    • 78 Metascore
    • 90 Critic Score
    With The Bride, Khan has created a sublime tale of sorrow and recovery, of accepting loss and working through pain to become a stronger person. Likewise, Khan has taken her interest in similar journeys from earlier albums and used them to make her most consistently captivating work thus far.
    • 71 Metascore
    • 80 Critic Score
    This Icelandic association seems to have triggered a benign crisis in Jimmy Lavalle's composition gland and stimulated his transformation from a major key minor artist to a minor key major artist in the course of this one volume.
    • 81 Metascore
    • 80 Critic Score
    Rachel's albums are consistently greater than the sum of their parts.
    • 84 Metascore
    • 80 Critic Score
    OST
    That's quite a timespan, though, and it does mean that one minute you're reeling from the hormonal stench of a roomful of anguished shoegazers and the next you're surrounded by happy little Japanese girls wearing anti-gravity shoes and doing Steiner dancing with wafty pastel banners. But that's just as it should be.
    • 84 Metascore
    • 80 Critic Score
    This is a brilliant and varied album, risky and excessive at times, yet compelling and open throughout.
    • 75 Metascore
    • 80 Critic Score
    A welcome addition to the avant-garde canon, an album that demonstrates the continuing development and growth of Mice Parade and Pierce.
    • 75 Metascore
    • 80 Critic Score
    Side projects rarely eclipse their protagonists’ main works, but Apropa’t is one radical departure that finds the players perfectly aligning themselves to each other so convincingly that it’s hard to imagine Herren looking back again.
    • 74 Metascore
    • 80 Critic Score
    Ten
    I’d recommend ten to anyone who bought oaklandazulasylum; to anyone else, I’d recommend both with some urgency...this is the real thing, and you’ll never know how much you needed it until you hear it.
    • 75 Metascore
    • 80 Critic Score
    With all its shallowness and artifice, it can only ever be a guilty pleasure. But it is the most intense of guilty pleasures.
    • 79 Metascore
    • 80 Critic Score
    The "perfect sounds for the summer" tag might cause a battle with The Thrills, but I do believe The Tyde have a fighting chance.
    • 69 Metascore
    • 80 Critic Score
    Still, three CDs of good-to-great music is a pretty acceptable ratio, and while this is not meant for the casual Cure fan, it’s an essential purchase for the hardcore ones.
    • 78 Metascore
    • 80 Critic Score
    Occasionally sounding like an air-raid in progress, as in 1956 And All That, Mclusky fortunately prove to be more than a one trick pony by the time grinding, pulsing closer Support Systems draws to an end.
    • 76 Metascore
    • 80 Critic Score
    The Heat doesn’t offer a dramatic change from its predecessor stylistically.... What it does have is more energy, better material and more focus.
    • 76 Metascore
    • 80 Critic Score
    Tres Cosas does then what all good third albums should do – it takes the best bits from her earlier works, perfects the model, and then goes a little bit further.
    • 68 Metascore
    • 80 Critic Score
    There is absolutely no doubt that this is an important album.
    • 88 Metascore
    • 80 Critic Score
    A work of art, slightly rough around the edges and a little makeshift, but tremendously beautiful all the same.
    • 78 Metascore
    • 80 Critic Score
    Overall, it's another great GBV album that continues to spotlight the Pollard's staggering work of genius.
    • 71 Metascore
    • 80 Critic Score
    This is not for all tastes. Slow, broody, experimental.
    • 83 Metascore
    • 80 Critic Score
    Faking the Books... is to Tridecoder and Scary World Theory as OK Computer was to The Bends – a quantum evolutionary leap that, taken consecutively, quite takes your breath away.
    • 65 Metascore
    • 80 Critic Score
    Although Kiss and Tell doesn’t quite match the dizzy heights of its major influences, it is without a doubt Sahara Hotnights’ finest album to date.
    • 88 Metascore
    • 80 Critic Score
    Despite the weak finish, Chutes Too Narrow is still a fantastic next step for the Shins, building on the wildly successful formula of Oh, Inverted World, while still managing to push their sound in new directions.
    • 72 Metascore
    • 80 Critic Score
    But, and here's the catch, at times the arrangements just don't cut it.
    • 78 Metascore
    • 80 Critic Score
    A bold, brave, and beautiful record.
    • 84 Metascore
    • 80 Critic Score
    Bits of Medulla sound similar to Vespertine, but there’s a marked distinction in the means of delivery and enough change to keep things interesting.
    • 78 Metascore
    • 80 Critic Score
    While Satanic Panic in the Attic is unlikely to make significant waves outside of Elephant 6 and indie-pop circles, those lucky enough to hear it (and persist with it) will find very little to complain about.
    • 86 Metascore
    • 80 Critic Score
    It’s all tons of fun, and is almost guaranteed to cheer you up with its overwhelming chirpiness.
    • 76 Metascore
    • 80 Critic Score
    Like 2003’s Dead Cities, Red Seas & Lost Ghosts, Before the Dawn is commendable for its almost obsessive attention to detail that has produced a collection of gorgeously layered and dense songs without ever sounding laboured.
    • 80 Metascore
    • 80 Critic Score
    Outside Closer weaves an oddly distinctive set of roundelays between the Air-like poppiness and cheery melancholia of the negatives and the Massive Attack jams with The Clash in Reykjavik melancholia of winter 72, concluding with two of the most depressing songs I’ve ever heard.
    • 80 Metascore
    • 80 Critic Score
    This is the year’s first great summer album.
    • 88 Metascore
    • 80 Critic Score
    What makes M.I.A. so good is her simplicity. Not quite electro-clash, not quite hip-hop, not quite grime, she's a world onto herself with little more than a groovebox and her voice to sustain her.