No Ripcord's Scores

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For 2,725 reviews, this publication has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 2.8 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 Island
Lowest review score: 0 Scream
Score distribution:
  1. Positive: 1,898 out of 2725
  2. Mixed: 751 out of 2725
  3. Negative: 76 out of 2725
2725 music reviews
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    • 81 Metascore
    • 60 Critic Score
    Down in the Weeds, Where the World Once Was
    Down in the Weeds is at odds with itself—where the band balances music that is ambitious in scope with some of Obert's most nakedly personal work. But just like his complicated and sometimes narcissistic persona, there's a good argument to make about how his over-the-top approach perfectly suits him. That aside, Oberst and his cohorts' generous offering does take them on new, unexplored territory while remaining true to his wry prose.
    • 75 Metascore
    • 50 Critic Score
    Songs for the General Public
    While there’s moments of excellence overall, the majority of Songs for the General Public feels like a self-aggrandizing duo getting high on their own supply.
    • 87 Metascore
    • 80 Critic Score
    Empty Country
    These songs work as an extension of himself—coming from one of indie rock's most literate songwriters—delivered with thoughtful compassion and no shortage of ambition.
    • 76 Metascore
    • 80 Critic Score
    Imploding the Mirage
    Despite the weak ending, Imploding the Mirage is a powerful album from a hungrier and more passionate Killers that have once again embraced bombast with fearlessness, aspiration, and confidence. You can hear the band prevailing over struggles and finding the joy in making music and being alive.
    • 82 Metascore
    • 60 Critic Score
    Welcome to Conceptual Beach
    The chances Young Jesus take here in a songwriting sense are commendable, and with technical chops to boot. But overall, it's not quite the powerfully compelling, or approachable, experience that Rositter will have you believe it is.
    • 75 Metascore
    • 40 Critic Score
    Dreamland
    Despite the amount of effort that appears at the surface, from the several websites to the layered and unique production, Dreamland is a project that’s as momentarily annoying as it is infinitely forgettable.
    • 84 Metascore
    • 80 Critic Score
    A Celebration of Endings
    All in all, A Celebration of Endings is a curious, often potent blend of sounds and influences. While lyrically dark, its exploration is more often than not a very satisfying ride into the unknown.
    • 81 Metascore
    • 70 Critic Score
    Old Flowers
    One of her most consistent and wonderful collections of unique, heartfelt, and depressing songs yet, even if it’s somewhat hampered by the need to make it “as cathartic and minimal as possible.” While Andrew Sarlo’s production is occasionally sedate, the writing is still exemplary.
    • 86 Metascore
    • 70 Critic Score
    Beyond the Pale
    Despite its slightly misfiring concept, Beyond The Pale remains an enjoyable hour spent inside the world of one of Britain’s most revered songwriters—even if you're never quite sure what your host was meant to be showing you.
    • 65 Metascore
    • 40 Critic Score
    Maybe We Could
    There are some appealing songs here that deserves to be on a Spotify playlist or in a chill lounge environment. However, they struggle to stand out next to subpar material over the course of a full-length record. There are lots of alluring instrumental pieces that show potential, but Kllo treats them as decorative rather than core aspects.
    • 84 Metascore
    • 70 Critic Score
    A Hero's Death
    A Hero's Death is not about growth: it's a band assessing where they stand as rising up-and-comers and having the impulse to express themselves differently. Maybe their sulking comes with a bit of affectation, but at least it's a convincing portrait of keeping true to themselves—soaking in everything that surrounds them.
    • 83 Metascore
    • 70 Critic Score
    The Balladeer
    Ultimately, The Balladeer is a solidly enjoyable record, one that captures McKenna’s voice and style nearly perfectly.
    • 82 Metascore
    • 80 Critic Score
    Free I.H.: This Is Not The One You've Been Waiting For [Mixtape]
    What it lacks in polish it all but makes up for in immediacy—and lots and lots of raw power. She didn't just get out of a potentially sticky situation; she thrived and found a way to turn it into an advantage with great songwriting panache.
    • 81 Metascore
    • 70 Critic Score
    Devastator
    Maybe the lyrics fall a little on the simplistic side, which is frustrating considering the themes here can be pretty bleak despite the sunny and airy sound. But overall, Devastator is a more than enjoyable return for a band that always felt deserved more attention.
    • 86 Metascore
    • 70 Critic Score
    Kitchen Sink
    It may not come across as immediately ambitious as her previous work, but there are no tricks or gimmicks that create this intimacy; it’s just clever production and writing that never outstays its welcome.
    • 83 Metascore
    • 70 Critic Score
    Lianne La Havas
    Delicate and lovely new project, one that chronicles a relationship blooming and decaying in equal time.
    • 75 Metascore
    • 80 Critic Score
    Self-Surgery
    Mrs. Piss’ sound is original, raucous, and delightfully angry. Self-Surgery’s only flaw is its brevity; hopefully, we’ll be hearing more from Mrs. Piss in the future.
    • 80 Metascore
    • 80 Critic Score
    Wicked City [EP]
    Wicked City proves that Jockstrap have nothing if not range, and secures their place as one of the UK’s most intriguing new bands.
    • 88 Metascore
    • 80 Critic Score
    Alfredo
    Gibbs is a masterful curator who knows who to match his flows with, like on God is Perfect and Look at Me, splicing soul loops, movie clips, and inventive beats etched into his gruff vocals. The beats are an attraction in itself, but make no mistake: they wouldn't be as good if Gibbs weren't behind the mic spitting his poetic yet matter-of-fact observations.
    • 77 Metascore
    • 70 Critic Score
    Shadow Offering
    Even if the songs sometimes lack some nuance, as is the many thematic layers the band puts on display, Standell-Preston manages to keep the album afloat when she's at her most open-hearted and assertive.
    • 79 Metascore
    • 60 Critic Score
    Pure Luxury
    The album is the sort of ridiculous over-commitment to a style that is appealing and fun to hear, even if it's not great.
    • 77 Metascore
    • 70 Critic Score
    Waterfall II
    The Waterfall lived up to its lofty ambitions, as the band navigated an enchanting patchwork of enchanting orchestral folk and winding prog rock. And that's just scratching the surface—by comparison, The Waterfall II is a little looser and rough around the edges. It's also a more overt attempt at sending a loving homage to their favorite pop songwriter.
    • 79 Metascore
    • 80 Critic Score
    Healing Is a Miracle
    Healing is a Miracle is an entrancing album from start to finish, and will be a gratifying listen for both long-time Barwick fans and newcomers to her music alike. Barwick’s continued development as both a soloist and collaborator resonates beautifully throughout this truly healing project.
    • 79 Metascore
    • 80 Critic Score
    Jump Rope Gazers
    Quiet or not, and despite the jazz-trained musicianship on display, Pearce’s production never buries the vocals—Stokes’ or anyone else’s for that matter. In The Beths’ case, their most valuable instruments are the ones they were born with—and that shines through every step of the way.
    • 64 Metascore
    • 50 Critic Score
    Portrait of an Ugly Man
    This album’s got plodding drum work, tasteless guitar work, and some of Paulson’s worst lyrics ever, but it’s also an interesting album.
    • 89 Metascore
    • 70 Critic Score
    Women in Music, Pt. III
    Overall, WIMPEE is an easy album to love, which, more than anything else, shows the trio's natural chemistry as musicians. ... Having chosen to maintain an upbeat, positive outlook to outweigh all the despair does big favors to the band—featuring a sparkling production that fits many, many moods—though it makes one wonder what could've been had they let us in just a little bit more.
    • 79 Metascore
    • 60 Critic Score
    Mordechai
    If they are willing to try out different moods and feelings, while still using that winning formula of tones and instruments, they could be a great band. On Mordechai, Khruangbin gets one step closer.
    • 59 Metascore
    • 20 Critic Score
    Bigger Love
    Every song on here comes from a collaboration from a different source, or a different trend that Legend is hopping on. There’s nothing personal here. ... Bigger Love’s second half has painful trap pop (Don’t Walk Away), plastic soul (Remember Us, Always), and a piano ballad closer with no defining traits or features (Never Break), all in classic John Legend fashion.
    • 83 Metascore
    • 100 Critic Score
    Island
    If you listen to it twenty times, you still find something new.
    • 81 Metascore
    • 70 Critic Score
    Lamb of God
    Overall, Lamb of God is a solid outing featuring a handful of tracks of potency with some genuine disaffection behind them, which shows the group has plenty left to say ten records in.
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