No Ripcord's Scores

  • Music
For 2,003 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 2.6 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 What's Going On [40th Anniversary Edition]
Lowest review score: 0 Famous First Words
Score distribution:
2003 music reviews
    • 100 Metascore
    • 90 Critic Score
    This is their Holy Bible--in other words this is an unknown quantity alright; it's Weezer's raw, emotive bastard child; and a great, brilliant, titanic blot on an often pristinely laundered back catalogue. For that reason in particular this is a thing to be cherished.
    • 100 Metascore
    • 100 Critic Score
    What's Going On is not only a remarkable album, but an opportunity to discover a seminal artist at the peak of his powers; an insight into a true modern genius of pop music.
    • 96 Metascore
    • 100 Critic Score
    It’s precisely those confrontational lyrics that make To Pimp A Butterfly an unforgettable album.
    • 96 Metascore
    • 90 Critic Score
    In summation, though, there is not much you could ask for in a Big Star box set that is not included here.
    • 96 Metascore
    • 90 Critic Score
    A Crow Looked at Me is what all art should aspire to be: honest, affecting, and unforgettable.
    • 96 Metascore
    • 100 Critic Score
    The SMiLE Sessions is a superior version, its sound undeniably belonging to its era and the true brilliance of Wilson's compositions seeming to shine a tad truer.
    • 95 Metascore
    • 100 Critic Score
    Ultimately, Skeleton Tree is the sound of feeling and not expressing sorrow.
    • 94 Metascore
    • 80 Critic Score
    As a whole, the record is a brilliant display of Kanye's range and influences, an opus of dirty hip-hop laid over haunting classically-inspired melodies.
    • 93 Metascore
    • 90 Critic Score
    It's still considered the band's last album as an underground presence, so it holds importance as something monumental in the band's development. As an album, Lifes Rich Pageant is enjoyable and clean.
    • 93 Metascore
    • 70 Critic Score
    These tracks are not enough to justify the second disc as anything more than marketing filler, so again, unless you've purchased the biggest, baddest, bank-breaking box set (complete with a replica of The Fly sunglasses), it would be smart to stick to the single-disc version.
    • 92 Metascore
    • 90 Critic Score
    Sunbather needs not to be judged as black metal, post metal, or any other subgenre, but simply as heavy music--loud, visceral, beautiful heavy music.
    • 92 Metascore
    • 70 Critic Score
    Despite its faults, Channel ORANGE still marks Frank Ocean out as an intriguing and exciting artist. It's a contradiction in many ways: a far-from-perfect album that suggests a long and prosperous career; an artist without an exceptional voice who looks like he will instead become an exceptional voice.
    • 91 Metascore
    • 80 Critic Score
    Kendrick Lamar may not have saved hip-hop, but he's certainly provided us with one of 2012's best records.
    • 91 Metascore
    • 90 Critic Score
    For a first album, The ArchAndroid is astoundingly accomplished. It would be a lie to say there aren't a few lulls in the back end of the record as Monae begins to take fewer risks, but only the truly seminal albums can keep the quality level so high for over an hour.
    • 90 Metascore
    • 90 Critic Score
    It’s fair to say if you don’t find anything worthwhile somewhere in this record, you probably just don’t enjoy electronic music.
    • 90 Metascore
    • 90 Critic Score
    These are adventurous pop songs with intricate arrangements and sophisticated chord structures.
    • 90 Metascore
    • 90 Critic Score
    The storytelling in Carrie & Lowell is as vivid as its always been, only that the focus is his.
    • 90 Metascore
    • 90 Critic Score
    Clocking in at a mere 32 minutes, the album is conceptually and sonically tight.
    • 90 Metascore
    • 90 Critic Score
    Not only are the songs uniformly excellent, they also show a mastery of the art of controlled dynamics, of tension and release, that most young bands ignore to pursue the catharsis of sustained intensity.
    • 90 Metascore
    • 90 Critic Score
    As the name may suggest, it's a daring, sprawling effort that simultaneously ventures beyond hip-hop and celebrates the genre's very history.
    • 90 Metascore
    • 80 Critic Score
    Z
    An album you should definitely own, and a band you should definitely watch.
    • 89 Metascore
    • 90 Critic Score
    That’s the wonder of St. Vincent. It’s a personal album that’s well-written enough to provide something we can all identify with.
    • 89 Metascore
    • 100 Critic Score
    The album is amazing. The reissue is amazing. The band is amazing.
    • 89 Metascore
    • 90 Critic Score
    Hand. Cannot. Erase. is an incredible addition to Wilson's body of work. Drawing from the simple and the complicated, progressive and pop, light and darkness, it proves that no force can erase his talent and standing as one of the best and most underrated musicians of today.
    • 89 Metascore
    • 80 Critic Score
    Fed
    With Fed, Liam Hayes seems to know that he has made an overly ambitious, maybe even hubristic album. He also doesn’t seem to care much about that, making it that much more appealing.
    • 89 Metascore
    • 90 Critic Score
    A Seat at the Table is intensely rich and gracious in its candor, so much so that it’s quieter, painstakingly personal moments are every bit as robust as direct aggression. Its soulful flow is luscious and languid, and simply dazzles in the graceful, airy beauty of Cranes In the Sky, where Solange’s voice floats to stratospheric altitudes.
    • 89 Metascore
    • 90 Critic Score
    With a confectionery of similarly colored assortments, The Idler Wheel... retrenches most of her past output, whether its wistful balladeering or sultry jazz, as a means of expelling a truly uncharacteristic voice.
    • 89 Metascore
    • 100 Critic Score
    MPP had aura to burn long before most of us heard it, but now those of us who have heard it and do love it know that this music will not be content to stand idle on the margins of tuneless hype. Time may very well lend Merriweather Post Pavilion a legend extraordinary enough to faithfully capture its myriad treasures.
    • 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.
    • 88 Metascore
    • 80 Critic Score
    The dynamic range on the album is, quite literally, startling.
    • 88 Metascore
    • 90 Critic Score
    I love it the same way I love looking at signatures in my yearbooks: as distant reminders of past friends and better times. Sure, this album is awesome, but the fact remains that this is a continuation of an old idea in lieu of a new one.
    • 88 Metascore
    • 90 Critic Score
    Like all Newsom’s albums, it is full of beautiful music and lyrics that initially appear enigmatic but are in fact simply dense, but it’s the first one to embed within itself, on various levels, the necessity to continue mining its depths.
    • 88 Metascore
    • 90 Critic Score
    Ta Det Lugnt is that rare joy, a work of art that both demands and rewards your attention.
    • 88 Metascore
    • 90 Critic Score
    It's Waits' best album since Rain Dogs, and may possibly be even better than that--only time will tell, but it will be time well spent.
    • 88 Metascore
    • 100 Critic Score
    By taking various elements from not only their collective past, but also the work they've done separately, Radiohead has created something wholly new and utterly entrancing.
    • 88 Metascore
    • 80 Critic Score
    Although Sometimes I Sit and Think is musically straightforward, Barnett doesn’t need anything more to tell great stories.
    • 88 Metascore
    • 80 Critic Score
    Vile Child is a debut LP that is rife with a resounding honesty and an airtight dexterity.
    • 88 Metascore
    • 80 Critic Score
    A work of art, slightly rough around the edges and a little makeshift, but tremendously beautiful all the same.
    • 88 Metascore
    • 70 Critic Score
    The good news is that there is no real filler on the album, but this uniformity of quality equates to an album where every song is good, but where few are really great.
    • 88 Metascore
    • 90 Critic Score
    It’s as brazen, bold and brilliant as anything it’s done thus far. It is, as Thom Yorke claimed, very minimal. Yet, the album never sounds half-finished, but instead focused and refined. It’s as vital as anything the band has done.
    • 88 Metascore
    • 70 Critic Score
    The Woods is solid, well crafted and intensely energetic, but a magnum opus it is not.
    • 88 Metascore
    • 90 Critic Score
    This album is incredibly intriguing and was executed beautifully.
    • 88 Metascore
    • 90 Critic Score
    Monoliths & Dimensions, present O’Malley and Anderson’s sonic murk as something to delve into, their inescapable walls of low-end suddenly beaming with purpose and a million and one instruments.
    • 88 Metascore
    • 80 Critic Score
    While doom metal is typically considered too droll and meandering for most non-metal fans to penetrate, Foundations of Burden transcends the genre so well that submerging oneself in the album’s striking melodies and crushing riffs feels almost effortless.
    • 88 Metascore
    • 90 Critic Score
    One of the most spectacular and intense albums the group has released yet.
    • 88 Metascore
    • 90 Critic Score
    The narratives it employs are true to life, the reverb drenched instrumentation was rightfully summoned, and the substitution of dark undertones over lighter sensibilities that such genre was commonly known for were ditched with good reason. No wonder Slumberland has wholeheartedly embraced Black Tambourine's influence to their label. That's good enough reason to bring another of independent music's long forgotten cult stories into the forefront.
    • 88 Metascore
    • 90 Critic Score
    This will surely be counted as one of the most remarkable, individual, and adorable albums of the year.
    • 88 Metascore
    • 90 Critic Score
    The most noticeable difference from his previous work is that the three are symphonic, they have parts, and those parts are distinct, either marked by a certain loop, bass ostinato, drone, or tempo.
    • 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.
    • 88 Metascore
    • 90 Critic Score
    Although For Emma, Forever Ago works best as a concise listen, as each song segues naturally into the next, tracks like 'Blindsided' and 'For Emma' quickly rise as shining standouts.
    • 87 Metascore
    • 70 Critic Score
    Fleet Foxes is certainly a very good record, but it is kept from greatness by its failure to capture the communal feeling of its excellent, buzz-building live shows.
    • 87 Metascore
    • 80 Critic Score
    With Blackstar, Bowie disengages himself once again from popular opinion and scoffs at the idea of taking the righteous path, finding inspiration in what is immoral and contentious. But in doing so he also finds an artful niche that suits his sixty nine years of age.
    • 87 Metascore
    • 80 Critic Score
    mbv follows its predecessor without aggrandizing its past resources, and as such, delivers a wallop of sweet, sweet distortion in a way that comes naturally to them.
    • 87 Metascore
    • 80 Critic Score
    What makes My Woman great isn't the new synths or the rockier tone. It's Olsen herself, filling these songs with the love, desire, anguish and acceptance that comes from her perspective as a woman.
    • 87 Metascore
    • 80 Critic Score
    For every low point there’s the unquestionable standouts.
    • 87 Metascore
    • 90 Critic Score
    It’s a vital record, one that’s Nick Cave through and through, and whether he’s exploring his garage roots or his spooky, narrative tendencies it’s at all points a triumph.
    • 87 Metascore
    • 80 Critic Score
    Few artists in this day in age take self-expression through art to heart like Hadreas does as Perfume Genius, and with the sensitive confidence that radiates from Too Bright, he’s mastered in a way few artists never do.
    • 87 Metascore
    • 100 Critic Score
    The Seer is 30 years' worth of effort, a unique and exciting height earned after decades of creation, experimentation and unconventional musical disassembly.
    • 87 Metascore
    • 80 Critic Score
    Mitski’s boldness is hugely impressive, and couple that with the fact the record is so expertly mixed and edited, she has produced one of the year’s more complete LPs.
    • 87 Metascore
    • 80 Critic Score
    All in all, this is another first-rate effort from one of the most deviant voices in hardcore.
    • 87 Metascore
    • 90 Critic Score
    Staples has so much to say in Summertime '06 that it’d be impossible to fully dissect in one listen, and his ingenious phrasing makes for a constantly amusing variety of vignettes. A record is only as good as the music that accompanies, though, and collaborative producer No I.D. delivers in spades and then some.
    • 87 Metascore
    • 90 Critic Score
    This collection is simply a joy to listen to, with great singers lovingly rendering great songs with a talented producer at the helm.
    • 87 Metascore
    • 70 Critic Score
    If you can distance yourself enough to judge Franz Ferdinand on its merits alone, it’s an impressive yet inconsistent debut record from a promising young band.
    • 87 Metascore
    • 90 Critic Score
    Tillman becomes one of the great diarists of our generation in Honeybear, possessing a keen, merciless intelligence within a sophisticated melodic sensibility.
    • 87 Metascore
    • 70 Critic Score
    What it does manage to do, however, is function as an engagingly visceral work of provocation, on balance interspersing his trademark beauty with enough challenging moments to reward repeated visits, even if listening to it never exactly feels like a pleasurable experience, and maybe that’s enough.
    • 87 Metascore
    • 90 Critic Score
    xx
    xx is a fantastically innovative album, and this band is exploring new territory.
    • 87 Metascore
    • 80 Critic Score
    What Daft Punk have done on Random Access Memories could be seen as a methodically curated, musical museum of the future, rather than a conservatory for experimental collaboration.
    • 87 Metascore
    • 100 Critic Score
    The music is beautiful, spiritual, intense, fun and, as Lester Bangs once called the Clash, righteous.
    • 87 Metascore
    • 80 Critic Score
    Each moment on Is Survived By is a hotly tempered emotional assault that leaves no closet-bound skeleton unaccounted for an un-torched.
    • 87 Metascore
    • 90 Critic Score
    This mind-expanding record will inspire a more inexpressible connection: you will carve your own niche within its deep and absorbing textures, and you will find new things upon every listen.
    • 87 Metascore
    • 90 Critic Score
    The Suburbs is about a search for home, for a place in the world when the home you knew is gone.
    • 87 Metascore
    • 90 Critic Score
    In Colour is one of the best albums of 2015 and one of the best dance albums in recent memory, simultaneously a moving homage to London rave culture and a realization of the potential of one of the most exciting and original minds in music today.
    • 87 Metascore
    • 90 Critic Score
    When it's all said and done, Tesfaye has presided over a mind bending, drug induced tour through an underground world of debauchery that only leaves him hollow. He commands the mood better than artists who have been in the game for years and yet this his first release.
    • 87 Metascore
    • 90 Critic Score
    These songs are chaotic, unexpected and jarring. Samples, vocoders, and shambling synths crash together in an unstructured soundscape. But if you listen through the anarchy, you will find a stirring, masterful odyssey.
    • 86 Metascore
    • 100 Critic Score
    Let England Shake may be Harvey's less vainglorious manifestation, but it is also her most intoxicating. Rather than exposing a personal voice, she exercises her political inquietudes with studied intellectualism.
    • 86 Metascore
    • 90 Critic Score
    I’d be surprised if the genre can produce anything much better than this.
    • 86 Metascore
    • 90 Critic Score
    The bizarre take on folk, pop and anything else she sees fit is enchanting, joyful and thought provoking; it's everything at once.
    • 86 Metascore
    • 90 Critic Score
    Welcome to Mali was one of 2008's hidden gems, so do yourself a favor and go check it out now.
    • 86 Metascore
    • 80 Critic Score
    While the tracks rarely challenge the listener with bold experimentation or chord progressions that range much beyond major-and-minor resolves, Natalie Prass provides a concise amalgamation of R&B, funk, baroque pop, and soul with a consistent through-line.
    • 86 Metascore
    • 90 Critic Score
    Powered by its fluid and seeming invincibility, Mirrored is almost frighteningly cosmic.
    • 86 Metascore
    • 90 Critic Score
    It reveals yet another side to this musician, who has continued to pull back layer after layer since she first appeared on the scene.
    • 86 Metascore
    • 80 Critic Score
    Few albums are truly perfect though, and Bon Iver is not without its flaw.
    • 86 Metascore
    • 80 Critic Score
    It's another rock-solid album from one of rap's most consistently great collectives, with no discernable weak spots to attack.
    • 86 Metascore
    • 90 Critic Score
    In Dead Cities, Red Seas & Lost Ghosts, M83 have created an ethereal electronic masterpiece, and one which, thankfully, doesn't sound like a relic from the Warp Records back catalogue.
    • 86 Metascore
    • 90 Critic Score
    It isn't perfect, its sheer restlessness prevents it from being so, but it will undoubtedly come to be remembered as another masterpiece from possibly the greatest electronic composer to walk the earth.
    • 86 Metascore
    • 80 Critic Score
    His voice is an art form in itself, breathy and warm and aching with impartial soul. The track’s arrangements are stunning, from the sparse opener Plastic 100°C to the propulsive beat of Blood On Me, while the devastatingly beautiful, reflective piano ballad of (No One Knows Me) Like The Piano would stop the coldest of hearts.
    • 86 Metascore
    • 80 Critic Score
    He has come up with a gem of a record, heartfelt and true, that hopefully will get him some of the attention he richly deserves.
    • 86 Metascore
    • 80 Critic Score
    Centres has the ability to both mollify and unnerve, and to think that most of it was assembled through sensitive means speaks volumes of Craig’s greater ambitions.
    • 86 Metascore
    • 90 Critic Score
    It’s the adequate album to write when you’re on a quest to become something, later to realize that you’ve no idea how to carry on fulfilling that need. It’s a transition that Toledo perfectly captures, one that he’s relieved to have outgrown.
    • 86 Metascore
    • 90 Critic Score
    We hear a lot of different sounds, but are never left in any doubt that they flow together with such fire and skill that you feel they could knock out a freeform jazz number and still sound like the same band.
    • 86 Metascore
    • 70 Critic Score
    After such a wonderful introduction, however, the rest of the album devolves into a strictly hit or miss affair.
    • 86 Metascore
    • 90 Critic Score
    There are two primary things that make Once I Was An Eagle take flight: Lyrics and progression, which together make the album intelligent, confident, and, perhaps most importantly, recursive.
    • 86 Metascore
    • 80 Critic Score
    It’s all tons of fun, and is almost guaranteed to cheer you up with its overwhelming chirpiness.
    • 86 Metascore
    • 80 Critic Score
    There's a clear warmth and passion in this remaster; if you've yet to let this album grow to be a part of your life, get this.
    • 86 Metascore
    • 100 Critic Score
    Halcyon Digest goes by like a breeze, and when it's finished there's nothing better to do than play it again.
    • 86 Metascore
    • 80 Critic Score
    Space Is Only Noise might occasionally overstay its welcome, but it's mostly an intriguing, excellent listen from a very promising young producer.
    • 86 Metascore
    • 90 Critic Score
    Intellectual without being snotty, encyclopaedic yet accessible, it takes the seemingly stalled electro model and kick-starts it into outer space.
    • 86 Metascore
    • 80 Critic Score
    jj have crafted a truly fascinating album and one of the best hidden gems this year
    • 86 Metascore
    • 80 Critic Score
    She knows what it is to crave whiskey, to lust after men, to flout the petty hypocrisy of small-town country life and then cry and ask Jesus for forgiveness. This time she wove this narrative of Southern womanhood into The Blade and, by forgoing judgment and flaunting all its incoherent complexities, made it universal.
    • 86 Metascore
    • 70 Critic Score
    These are essentially songs of innocence and experience tinctured by world-weariness simultaneously infused with an earnest lack of guile. A brief criticism would be: a little more sound and a little less fury, please Will.