No Ripcord's Scores

  • Music
For 1,792 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 Let England Shake
Lowest review score: 0 Scream
Score distribution:
1792 music reviews
    • 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
    • 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.
    • 83 Metascore
    • 70 Critic Score
    B’lieve i’m goin down is further evidence of Vile’s conclusive authenticity, and his position as one of songwriting’s most understated commodities.
    • 83 Metascore
    • 70 Critic Score
    Once Wilco blazon forth their centerpiece, the remainder of The Whole Love takes a more familiar form that embraces self-assurance, even if those lopsided moments sum the overall experience.
    • 82 Metascore
    • 80 Critic Score
    This is the band’s second album after their somewhat missed "Kamehamena," and their pounce only proves to reinstill the style of the album’s predecessor.
    • 82 Metascore
    • 80 Critic Score
    Instead of modest waltzes and looped drum machines, there’s an evident maturity in the way the production unveils itself as richer and far more multifaceted. When you can’t break the familiar, expanding on those opportunities only makes you more in control.
    • 82 Metascore
    • 70 Critic Score
    Whether you will enjoy this ultimately depends on whether you're more of a rocker or a dancer - indeed, some people much preferred the mellower sound of their last record - but there's little denying that this album misses a lot of the urgency and sheer emotional energy of the band's first two LPs.
    • 82 Metascore
    • 40 Critic Score
    One good single does not a great album make, and unfortunately, the rest of the record becomes pretty tedious, pretty quickly.
    • 82 Metascore
    • 90 Critic Score
    You can imagine, and probably relate, to the monotony and helpless angst that attacks us when we're a certain age, going through certain ritualistic processes of life. So imagine this record as the soundtrack to those feelings, and how liberating, not only that would have felt then, but does feel now.
    • 82 Metascore
    • 90 Critic Score
    It's the album that makes her the comparative standpoint in her own right--suggesting subtly that she may one day be the talismanic songstress for her own generation.
    • 82 Metascore
    • 70 Critic Score
    Even though it does occasionally dip into overly-saccharine territory--like in the largely plodding End of the Summer--it more often makes for a good match with the band's more heavily melodic--though still energetic--approach.
    • 82 Metascore
    • 80 Critic Score
    Crack the Skye follows Mastodon’s uncanny tradition of crafting a brand of heavy metal that is unabashed, mazelike, and above all, fresh.
    • 82 Metascore
    • 90 Critic Score
    Janelle Monáe has not simply lived up to our expectations here; she has shattered them, delivering a confident, creative, and enormously entertaining record that marginally betters her sublime debut.
    • 82 Metascore
    • 70 Critic Score
    Panda Bear Meets the Grim Reaper can be a particularly infuriating listen since it wanders between moments of greatness and utter tedium.
    • 82 Metascore
    • 80 Critic Score
    Weird Little Birthday is a superb debut, beautifully recorded, with everything in its right place.
    • 82 Metascore
    • 70 Critic Score
    The good does far outweigh the bad, and had this album been a bit more condensed, it would have been one of my favorites this year.