No Ripcord's Scores

  • Music
For 1,610 reviews, this publication has graded:
  • 49% higher than the average critic
  • 2% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 2.5 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 My Father Will Guide Me Up a Rope to the Sky
Lowest review score: 0 Famous First Words
Score distribution:
1,610 music reviews
    • 81 Metascore
    • 10 Critic Score
    At its weakest, the album is merely boring with the lamely typical Can't You See, an album opener of distorted rumbling and vocals so low you'd strain to make them out. Arguably worse than a bland track is that the album actually offers some hope for a reasonably enjoyable experience.
    • 76 Metascore
    • 30 Critic Score
    By attempting to give us what we want, and provide reassurance that the Sonic Youth legacy is in safe hands, Moore has somehow managed to make it look weaker and less appealing than it ever was.
    • 76 Metascore
    • 30 Critic Score
    Circuital makes it clear that we are dealing with My Morning Jacket post-metamorphosis. From a provocative indie/country/blues band with exceptional vocals, witty lyrics, and a stellar band, MMJ has found prime real estate on the premise of becoming a commercial parody of themselves.
    • 75 Metascore
    • 30 Critic Score
    By playing it safe and giving the fans exactly what they want, Coheed & Cambria have successfully delivered two of the most predictable, mundane albums I’ve ever heard.
    • 75 Metascore
    • 30 Critic Score
    Beachy summer party/winter bummer wallpaper for your Bohemian café-bar and for the hipsters that frequent it, who like their pop music perfectly pleasant and non-threatening.
    • 74 Metascore
    • 30 Critic Score
    One of the most disappointing debut albums I've ever heard.
    • 73 Metascore
    • 30 Critic Score
    Their live performances are largely improvised around one riff per song, which could make for an interesting show--but on this record, it gets old fast.
    • 73 Metascore
    • 20 Critic Score
    4
    Where this album should be fresh and current, it sounds tired, repetitive and uninspired.
    • 72 Metascore
    • 30 Critic Score
    here isn't enough variation on here to retain its limited intrigue, as Lortz relies too much on his consistently unremarkable songwriting; ultimately, it's a forgettable record.
    • 72 Metascore
    • 30 Critic Score
    They are capable of making albums that are big, over the top and fun. The Resistance is over the top, but comes off as boisterous and overblown.
    • 72 Metascore
    • 30 Critic Score
    On Flower Lane, Mondanile and the gang stepped out of the bedroom and into the studio, and the result is something just as sterile as every other song by Real Estate.
    • 71 Metascore
    • 30 Critic Score
    It's just painfully mediocre.
    • 70 Metascore
    • 30 Critic Score
    Into The Diamond Sun is somewhat equivalent to being pelted with macaroons; at first sweet, delicate, even impressively constructed, but soon proving not just boring, but intensely samey, sickly and unsatisfying.
    • 68 Metascore
    • 30 Critic Score
    The album suffers some of the worst adjectives any musician can hear: boring, forgettable, and embarrassing.
    • 68 Metascore
    • 20 Critic Score
    Many of the tracks on Dos! are merely soulless specters of previous work from Green Day's "golden-age."
    • 67 Metascore
    • 30 Critic Score
    Magic Hour's never exactly bad. It's worse than that. It's boring.
    • 66 Metascore
    • 30 Critic Score
    Unoriginal, haphazardly thrown together and lacking most of what could make it the least bit enjoyable, Places Like This just proves that Architecture in Helsinki is a one trick pony.
    • 65 Metascore
    • 30 Critic Score
    Only three tracks are of sufficient quality to have seen the light of day and it means you can't help but question the motives behind the release of such an inessential collection.
    • 65 Metascore
    • 30 Critic Score
    Now, there’s nothing wrong with something throwaway now and again, but it’s difficult to stomach over the course of eleven tracks.
    • 64 Metascore
    • 30 Critic Score
    Colonia has an awful lot of ideas, but doesn’t really know what to do with them and the majority of tracks end up sounding messy and--like the rest of us following Christmas--carrying a little too much extra weight.
    • 64 Metascore
    • 30 Critic Score
    The bottom line here is that this is a boring album, plain and simple.
    • 63 Metascore
    • 10 Critic Score
    I'll admit, the songs on Babel wouldn't be so painful if it weren't for the god-awful "deep" lyricism of Marcus Mumford.
    • 63 Metascore
    • 30 Critic Score
    This record is half as clever as it thinks it is, and utterly inessential.
    • 62 Metascore
    • 20 Critic Score
    Mostly everything is contrived and cliché, lifted from a stock collection of guitar rock and electro rock of the past ten years.
    • 62 Metascore
    • 30 Critic Score
    Vices & Virtues bucks that somewhat healthy trend in entirely the wrong manner, and represents exactly the kind of the uninspired drudgery of Americana indie rock that has emerged in the wake of the likes of My Chemical Romance and Fall Out Boy.
    • 62 Metascore
    • 30 Critic Score
    The girls are solid musicians, and they’ve structured their little songs well enough. The record is pretty short too, clocking in at 24 minutes, which is good, because I was bored already at the 15 minute mark.
    • 62 Metascore
    • 30 Critic Score
    Save for a few tracks, you get exactly what you'd expect from a band like Dead Confederate: middle of the road alternative rock music with seemingly little depth and a whole lot of cliches.
    • 61 Metascore
    • 30 Critic Score
    Bricolage is as a sometimes fun but mostly ambitionless and unnecessary project.
    • 61 Metascore
    • 20 Critic Score
    We get a record that is surprisingly dull, which alternates between syrupy, unremarkable ballads and uptempo tracks that sound like they’ve been assembled by a committee of consultants.
    • 61 Metascore
    • 20 Critic Score
    Sleep Mountain isn’t entirely unenjoyable; its two main crimes are that it’s too safe with its simple chord patterns and unimaginative riffs, and that it’s too in thrall to the records that have inspired it.
    • 60 Metascore
    • 20 Critic Score
    It is, quite frankly, tedious and utterly un-inspiring, lacking any serious ability to convey the emotive forces which I would hope drove the song writing processes. [Review of UK release The Future Is Medieval]
    • 60 Metascore
    • 30 Critic Score
    In the end it's hard to fathom just who is going to really love this album.
    • 60 Metascore
    • 10 Critic Score
    Awful.
    • 59 Metascore
    • 20 Critic Score
    Synths take a higher precedence this time round: it’s an indie-pop record, far from their post-hardcore roots; indeed Living in Song sounds like an Architecture in Helsinki knockoff. But even when you can hear the band trying out new things, it simply sounds turgid.
    • 59 Metascore
    • 10 Critic Score
    Apparently The Wombats only managed to write the one song for the album and so have decided to just repeat it ten times, offering little-to-no variation in tone or tempo--although to be fair to them, they do stick a different synth preset on for each song so you can tell them apart.
    • 58 Metascore
    • 20 Critic Score
    A 55-minute mess called Curtis, undoubtedly one of this year’s worst releases.
    • 58 Metascore
    • 30 Critic Score
    There's no debating in my mind that Digitalism have the potential to produce an album even better than Idealism. But sadly, I Love You, Dude is not it.
    • 58 Metascore
    • 10 Critic Score
    It is samey, ugly and spectacularly stupid at the same time.
    • 56 Metascore
    • 30 Critic Score
    Lyrically it’s weak, and the over-polished studio buffing does nothing to emancipate the blueprint that is, essentially, the same as it was 17 years ago.
    • 54 Metascore
    • 30 Critic Score
    It's not too hard to imagine the Saunders sisters staring aimlessly while some confused producers shuffle the cards until randomly finding their rhythmic groove. And that's the worst think about this record: constantly thinking of the word studio when you're trying to invest some emotion.
    • 52 Metascore
    • 0 Critic Score
    F.A.M.E. is a vile, despicable album that doesn't deserve to be supported in any way, shape or form. Its very existence is a frightening indictment of our times, in terms of our attitudes to music, women and the cult of celebrity.
    • 52 Metascore
    • 10 Critic Score
    Liam Lynch is about as funny as the plague, and even that had its moments in Monty Python. This doesn't have any.
    • 51 Metascore
    • 20 Critic Score
    The occasional highlight isn't enough to make up for the cloth-eared versions of timeless songs found elsewhere on the record, or to cover up for the fact that See My Friends is a mostly soulless, and an entirely pointless album.
    • 51 Metascore
    • 20 Critic Score
    This album is a carbon copy of Vampire Weekend, but you know how when Gus Van Sant remade Psycho shot for shot and it was rubbish? It's like that.
    • 50 Metascore
    • 30 Critic Score
    Quite frankly, it's f**king boring.
    • 49 Metascore
    • 20 Critic Score
    Conveniently, he’s premeditated every song in #willpower with a bevy of wishy-washy, quotable clichés that are meant to fit the space of 140 characters. Sadly, that's as deep as it gets.
    • 49 Metascore
    • 0 Critic Score
    Owl City is electro-pop's unwanted bastard child, combining all the worst elements of the genre. The production is lazy and unbelievably dull.
    • 48 Metascore
    • 30 Critic Score
    After half a decade away, If Not Now, When? really does feel like a misstep. Hopefully a little creative control can be wrestled away from Boyd in the future, otherwise a much under-rated band really could be lost forever.
    • 47 Metascore
    • 30 Critic Score
    The album aims for Grohl-esque rock anthems, but falls short mostly due to a lack of melodic gifts; given that, it needs many more musical ideas than it has to keep anybody interested.
    • 47 Metascore
    • 30 Critic Score
    The album does have one redeeming aspect preventing its plunge into epic echelons of suck, and that's lead single Party Rock Anthem.
    • 47 Metascore
    • 0 Critic Score
    Polished to the point of being nausea-inducing, this album has been packaged to a precise remit: robotic, stadium-rock-lite that follows the tried and tested formula of acoustic quiet bit, drums come in, second verse, chorus, repeat to fade so strictly that you’ll feel like banging your head against a brick wall and/or adding your own beat-box percussion.
    • 42 Metascore
    • 0 Critic Score
    The record sounds phoned in, plain and simple, and its awkward concessions to cliche, its trash heap lyrical conceits, and its dopey production have a cumulative effect that would be insulting if it weren’t so transparently uninspired and uninteresting.
    • 40 Metascore
    • 10 Critic Score
    For what it is, it may in fact be quite good. But, to her discarded fans, at least, she's given the ultimate finger.
    • 37 Metascore
    • 20 Critic Score
    The derivativeness quickly overwhelms.
    • 34 Metascore
    • 0 Critic Score
    This album is an abomination. It's a rancid pile of regurgitated tripe.