NOW Magazine's Scores

  • Music
For 2,229 reviews, this publication has graded:
  • 42% higher than the average critic
  • 2% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 7.3 points lower than other critics. (0-100 point scale)
Average Music review score: 64
Highest review score: 100 Four Stars
Lowest review score: 20 No Line On The Horizon
Score distribution:
2,229 music reviews
    • 65 Metascore
    • 30 Critic Score
    Unbearably bland.
    • 52 Metascore
    • 30 Critic Score
    This is a dry affair dominated by standard-issue R&B production monotony, and an egregious misuse of resources.
    • 59 Metascore
    • 30 Critic Score
    So while Yellowcard's hearts may be in the right place, it's clear they're simply incapable of realizing this clumsy faux magnum opus.
    • 62 Metascore
    • 30 Critic Score
    The result is exactly what you'd expect: loud and hard garage rock devoid of personality or originality.
    • 72 Metascore
    • 30 Critic Score
    Uniformly mediocre.... It leads one to assume he's either lost the ability to discern the padding from the profound or he just didn't give a shit.
    • 69 Metascore
    • 30 Critic Score
    Two-thirds of the songs fail to cohere.
    • 64 Metascore
    • 30 Critic Score
    A floundering mess that bores you to tears.
    • 64 Metascore
    • 30 Critic Score
    Considering the expensive talent involved, this is a colossal disappointment.
    • 57 Metascore
    • 30 Critic Score
    Most of this over-egged sissy-boy schlock would make James Blunt wince.
    • 65 Metascore
    • 30 Critic Score
    Redundant, needlessly long, Those The Brokes rarely matches the 60s California-dreamin' good-vibes pop of its successful self-titled predecessor.
    • 55 Metascore
    • 20 Critic Score
    P.O.D.'s new album sounds exactly like all their other ones.
    • 57 Metascore
    • 20 Critic Score
    A lilting acoustic-y record with ethereal leanings, plenty of canned, overproduced studio gloss and occasional dangerous forays into mild rock.
    • 71 Metascore
    • 20 Critic Score
    Unfortunately, Furtado doesn't have the rhyming skills, vocal chops or attitude to pull off any one of her new personae.
    • 79 Metascore
    • 20 Critic Score
    The Audience's Listening is kinda like a Fatboy Slim B-sides collection circa 1998 without the catchy bits.
    • 57 Metascore
    • 20 Critic Score
    Though Storch and other heavy hitters do their best to craft reasonable facsimiles of a broad range of Today's Best Dance-Pop Hits, they can't hide the fact that Hilton's a shit singer who can't carry a tune even when the vocal melody is reproduced note-for-note in the arrangements.
    • 80 Metascore
    • 20 Critic Score
    Unfortunately, all the intricately picked little guitar figures don't make his raspy yelping sound any less like a wet cat stuck under a couch.
    • 15 Metascore
    • 20 Critic Score
    His flow is generic and instantly forgettable and his lyrics are trite, inconsequential and full of self-importance.
    • 67 Metascore
    • 20 Critic Score
    Jay proves that, yes, he really has nothing more to say except to state the fact that he's back.
    • 58 Metascore
    • 20 Critic Score
    Even Linda Perry, Swizz Beatz, Nellee Hooper and the Neptunes have their share of duff tracks, and it appears that's all they had to offer when Stefani came calling.
    • 76 Metascore
    • 20 Critic Score
    A dreary dump of sad sack pop blather that makes poor use of the substantial talent on hand.
    • 56 Metascore
    • 20 Critic Score
    Try as they might to sound different, or even to touch on issues bigger than their own narcissistic garbage, LP still sound like they're stuck back in 00, which is where they should have stayed.
    • 69 Metascore
    • 20 Critic Score
    A combination of insipid songs and uniformly soulless performances, it deserves high placement among the other legendary Macca misfires Pipes Of Peace, Press To Play, Off The Ground, Tug Of War and Red Rose Speedway.
    • 58 Metascore
    • 20 Critic Score
    It seems as if they've done everything possible to distance themselves from their original, much more interesting sound, opting instead for songs with barely enough hooks and coherent structures.
    • 68 Metascore
    • 20 Critic Score
    The novelty of it all has quickly worn thin.
    • 65 Metascore
    • 20 Critic Score
    Sadly, this landfill isn't biodegradable.
    • 80 Metascore
    • 20 Critic Score
    The painful White Chalk is either a studio experiment gone horribly wrong or a crafty bit of career self-sabotage by a sensitive artist who'd rather make sculptures in the desert than play pop star.
    • 69 Metascore
    • 20 Critic Score
    Rather than the thoughtful songcraft and inspired peformances of Banhart's pre-Roberts Young God recordings, what you hear now is the zoned-out noodling of someone who foolishly believes his own genius hype.
    • 60 Metascore
    • 20 Critic Score
    Will.i.am has to be one of the worst rappers of all time, a fact his solo album doesn't just confirm, but stamps in red.
    • 56 Metascore
    • 20 Critic Score
    A deadly dull set of cliché-packed piano ballads probably isn't the best way for aging harmony synchers to prove to their shrinking tween audience that the old Boys (sans Kevin Richardson) have still got it.
    • 66 Metascore
    • 20 Critic Score
    Without any clever arrangements or production gimmicks to rely on, Keys tries to compensate for the obvious shortcomings by oversinging each syllable in a way that would make Patti LaBelle cringe.