No Ripcord's Scores

  • Music
For 1,708 reviews, this publication has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% 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 Halcyon Digest
Lowest review score: 0 All Things Bright and Beautiful
Score distribution:
1,708 music reviews
    • 83 Metascore
    • 80 Critic Score
    Heroic, monumental and wondrously sensual.
    • 83 Metascore
    • 70 Critic Score
    Grinderman 2 follows with more of a racket, still the full-throttle guitar-driven rock meant to separate men from boys.
    • 83 Metascore
    • 90 Critic Score
    Lykke Li holds to her regal aesthetic and simple drum and bass lines doggedly; whether stripped down or ramped up she has a well crafted, appealingly consistent sound, and it's what she puts over this that completes it.
    • 83 Metascore
    • 70 Critic Score
    With this latest effort, Superchunk have proven just that, and done so in their own insightful, rocking way and without compromise. All hail the kings (and queen).
    • 83 Metascore
    • 70 Critic Score
    Their free form approach is certainly amusing, perhaps too cerebral at times, but that’s just another way of reinforcing they want us to figure out what they’re aiming for.
    • 83 Metascore
    • 70 Critic Score
    Centralia finds Mountains in their finest form yet, indicating a new level of comfort in the space they've been carefully carving out over the past decade.
    • 83 Metascore
    • 80 Critic Score
    Even if this type of thing isn’t your bag, it’s really pretty irresistible and is worth a shot.
    • 83 Metascore
    • 90 Critic Score
    From start to finish, The Hunter is a collection of songs that inadvertently expands their repertoire and capabilities while they turn off their heads and let their fingers tell the story.
    • 83 Metascore
    • 80 Critic Score
    In the case of Blackjazz, Shining spreads lyrical passages across songs, repeats song titles with different music attached: they basically create an environment that can only be understood as a whole.
    • 83 Metascore
    • 80 Critic Score
    It feels like they've been doing this for years, and while they quite literally all have, the way they have formed and moulded that sum of past experience into one new entity is nothing but impressive.
    • 83 Metascore
    • 80 Critic Score
    Snaith is able to hold onto his Caribou identity despite the new techno influences. His new album Swim reaffirms the supreme artistic capability that is Caribou.
    • 83 Metascore
    • 100 Critic Score
    There is a monumental feeling of strength and courage in their music that is impossible to deny.
    • 83 Metascore
    • 60 Critic Score
    Where ["The Bliss"] bubbled and spat like hot fat, its meticulous construction overflowing with polyrhythms, Black Noise seems disjointed and overlong even though it runs for roughly the same duration.
    • 83 Metascore
    • 60 Critic Score
    The excellent-to-annoying song ratio on this album is definitely high. Still, their first record was solid from start to finish, and this one smacks so much more of Lennon/McCartney than Kapranos/McCarthy.
    • 83 Metascore
    • 90 Critic Score
    Under Color of Official Right is built with a steely fortitude, treating its subjects with respect and bluntness even if there’s nary a hopeful or comforting prospect to look forward to.
    • 83 Metascore
    • 90 Critic Score
    It Still Moves is the kind of album that can inspire both wonder and respect in equal measures.
    • 83 Metascore
    • 80 Critic Score
    This is one of the few releases of 2008 that shook me out of my complacency and forced me to accept it on its own terms.
    • 83 Metascore
    • 90 Critic Score
    The artistry on Shadows In The Night is as sharp as ever, which is a welcome reminder of how Dylan’s songwriting is only half the story. The emotional electricity of his albums stems from his composed and ardent delivery and the sonic poetry of the arrangements surrounding this delivery.
    • 83 Metascore
    • 70 Critic Score
    While it may not attain the dizzy heights of I'm New Here, Smith's deftness ensures that We're New Here is far more than just a vanity project
    • 83 Metascore
    • 80 Critic Score
    There’s so much here to enjoy, we can tolerate the occasional lyrical overreach.
    • 83 Metascore
    • 80 Critic Score
    Sure, there aren’t quite the visceral heights that the best tracks on w h o k i l l provided, but you will not be thinking that during Nikki Nack’s best moments. Listen to the words she says, let them sink into your head.
    • 83 Metascore
    • 80 Critic Score
    Soused, with its impenetrable construct and heavy ambition, delivers on many fronts, most notable of which is in its thoughtfully composed immensity.
    • 83 Metascore
    • 80 Critic Score
    Loom seems to touch upon many periods within the extensive annals of indie pop, but Fear of Men put their own stamp with smart, modish pop tunes that intend to make sorrow, in the face of uncertainty, sound invigorating.
    • 83 Metascore
    • 100 Critic Score
    Overall, this album contains some of the most original and hypnotically brilliant rock music ever recorded.
    • 83 Metascore
    • 70 Critic Score
    It’s an evocative listen, though they can’t quite break the compulsion to play around with passing fads.
    • 83 Metascore
    • 80 Critic Score
    Circumambulation practically evades any trace of sheen that was found on their two previous efforts. The differences are minimal but not predictable, lying somewhere between sludgy stoner metal and expansive, yet acute rhythmic precision; it’s their ability to never stand on solid ground that elevates their caliginous mid-tempo tunes.
    • 83 Metascore
    • 80 Critic Score
    All told, For Clouds and Tornadoes is a quality release from a musician that's not afraid to explore outside the usual methods to create extraordinary music.
    • 83 Metascore
    • 80 Critic Score
    Barwick’s angelic voice channels whale song, her textless mantras capture a serene ambience, and her ear for arrangement are far beyond her years. Most impressive, though, is Barwick's relentless inventiveness: Florine is unlike anything you will hear this year.
    • 83 Metascore
    • 70 Critic Score
    23
    It’s mostly a collection of decent tunes, polished to a blinding sheen.
    • 83 Metascore
    • 90 Critic Score
    This is hip-hop that doesn't attack; it drifts. Black Up is full of ghostly howls and weird barely-there percussion, devoid of anything like a single.