NOW Magazine's Scores

  • Music
For 2,298 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 7.1 points lower than other critics. (0-100 point scale)
Average Music review score: 65
Highest review score: 100 To Pimp A Butterfly
Lowest review score: 20 Doll Domination
Score distribution:
2,298 music reviews
    • 75 Metascore
    • 80 Critic Score
    In reconnecting with her former Eric's Trip bandmates, Doiron rediscovers her edge, wrapping her warm, frayed vocals around awkward and occasionally dissonant melodies, layering multi-track self-harmonized phrases over heavyish rock-focused arrangements and crafting dynamic songs that leave you with a satisfying sense of being shaken up.
    • 78 Metascore
    • 80 Critic Score
    He's turned the clock back to the Fun Trick Noisemaker era of playful psychedelic indulgence that was the Apples' stock in trade before the unsavoury aspirations of indie-rock stardom took hold.
    • 76 Metascore
    • 80 Critic Score
    There are lots of references thrown into their oddball funk, but it's starting to sound completely logical and natural.
    • 75 Metascore
    • 80 Critic Score
    It requires a certain level of self-denial to hate Fall Out Boy, as in, "No, I don't like huge hooks, soaring choruses or wild-eyed expressions of youthful ambition." If so, congratulations, you're 800 years old. Or a Joanna Newsom fan.
    • 75 Metascore
    • 80 Critic Score
    Otherworldly.
    • 80 Metascore
    • 80 Critic Score
    Levi pulls off his flamboyant persona because he has the meticulously structured songs to carry it.
    • 66 Metascore
    • 80 Critic Score
    Singer Glen Hansard moves from quiet introspection to earnest Jeremy Enigk-like wailing and back again, all the while reminding you just how rewarding a listen The Cost is.
    • 81 Metascore
    • 80 Critic Score
    Back To Black is just a darkly rockin' good time, which will hopefully spark a new trend away from R&B's sickening slickification.
    • 86 Metascore
    • 80 Critic Score
    This sounds more like an album and less like a collection of singles and ideas, and the pop and funk elements are a bit more refined than before.
    • 77 Metascore
    • 80 Critic Score
    They sound like one brain playing machine-gun rhythms and echoing chords on a multitude of instruments, and their incredible fusion makes even the tunes with the simplest, most standard structures... exciting.
    • 69 Metascore
    • 80 Critic Score
    Ferry manages to breathe new life into [the songs] while maintaining their integrity and original purpose.
    • 77 Metascore
    • 80 Critic Score
    It's still epic – and a bit grandiose at times - but in a charmingly human and believable way.
    • 64 Metascore
    • 80 Critic Score
    With the fast-maturing Stone gaining greater control of her powerful pipes and a recent breakup adding to the underlying sexual tension while stoking the creative fire, the craftily reconstituted 70s R&B concept works exceptionally well.
    • 87 Metascore
    • 80 Critic Score
    The clever hook is keeping everything fuzzy enough to create a trippy mystique that makes it difficult to pinpoint what's happening or where it's all leading.
    • 83 Metascore
    • 80 Critic Score
    Once our boy Nick begins his bellicose bellowing, there's no mistaking Grinderman's amped-up scorch for anything but another of Cave's darkly humorous creations of magnificent malevolence. Long may he howl and snort.
    • 74 Metascore
    • 80 Critic Score
    Brilliantly catchy.
    • 78 Metascore
    • 80 Critic Score
    She succeeds on a level that was always just out of reach; the whole thing feels organic and natural.
    • 79 Metascore
    • 80 Critic Score
    Feist is now that rare artist in complete control of her talent.
    • 81 Metascore
    • 80 Critic Score
    Tears Of The Valedictorian is the band in top form, with Spencer Krug binding meandering tales of post-postmodernist artistic anxiety with wiry keyboards that echo Mercer's morphing vocals.
    • 79 Metascore
    • 80 Critic Score
    Devoid of filler and pop vocalist appearances, Red Gone Wild's a solid surprise for fans who thought the Funk Doc's career had gone up in smoke.
    • 77 Metascore
    • 80 Critic Score
    The weird, nuanced Rhode Island-based MC burns his references, punchlines and cold truths through a batch of X-acto-sharp beats, focusing his strong opinions, sense of imagery and lyrical abstraction inward.
    • 79 Metascore
    • 80 Critic Score
    A well-considered 10-track song cycle of mostly shorter and tighter compositions that combine the catchy, guitar-oriented pop aspects of Ta Det Lugnt ... with the darker freak-folk stylings of 2002's Stadsvandringar.
    • 63 Metascore
    • 80 Critic Score
    Those lyrics may seem slightly ridiculous, but between them and his thinly veiled metaphors for his need to perform cunnilingus (Sweet Tooth), Kelly's originality and talent for making instant club hits is un-fucking-deniable.
    • 79 Metascore
    • 80 Critic Score
    What a joyously juddering load of comical clatter it is.
    • 75 Metascore
    • 80 Critic Score
    Though QOTSA always seem to be on bland-rock stations, this is as different from the mainstream as you can imagine, and not in a bad way.
    • 72 Metascore
    • 80 Critic Score
    It's almost as if, released from the role of playing less weird anchor to Spencer Krug's art rock savant, Boeckner's figured out how to maximize and expand what he does best.
    • 76 Metascore
    • 80 Critic Score
    The Sheryl Crow duet works where his Norah Jones collabo didn't; I Taught Myself How To Grow Old is classic tortured Adams, and Pearls On A String is a rewarding reflection of the time he spent hanging out with Willie Nelson.
    • 70 Metascore
    • 80 Critic Score
    In terms of writing and production, this may be Interpol at their best.
    • 78 Metascore
    • 80 Critic Score
    They seamlessly move from straight-up hardcore or punk to more traditional rock all over this record, and there's no shortage of fist-pumping anthems.
    • 81 Metascore
    • 80 Critic Score
    The whole album is solid, save for Uffie's questionable club princess rap, and even that sounds better with repeated listens.