PopMatters' Scores

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For 11,090 reviews, this publication has graded:
  • 43% higher than the average critic
  • 4% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 3.9 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Funeral for Justice
Lowest review score: 0 Travistan
Score distribution:
  1. Positive: 7,433 out of 11090
  2. Mixed: 3,399 out of 11090
  3. Negative: 258 out of 11090
11090 music reviews
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    • 50 Metascore
    • 20 Critic Score
    Necessary Evil
    It's mostly awful, with Harry sounding hopelessly out of step.
    • 52 Metascore
    • 30 Critic Score
    Brave
    Brave has neither a strong artistic personality nor boffo production, and as a result, ends up being just another disposable pop record with no redeeming value.
    • 53 Metascore
    • 30 Critic Score
    souljaboytellem.Com
    The most grating aspect of the entire album is simply how Soulja Boy feels that a chorus can constitute of nothing more than a single spoken phrase repeated roughly 50 times within the span of a three-minute song.
    • 77 Metascore
    • 30 Critic Score
    Young Modern
    Young Modern displays a band with the talent to do something new, but without the guts to try.
    • 63 Metascore
    • 30 Critic Score
    Version
    Version is proof that you can’t just slap a bunch of horns and old-time R&B beats on rock songs and turn them into soul songs.
    • 59 Metascore
    • 20 Critic Score
    Everyday I Said A Prayer For Kathy And Made A One Inch Square
    The entire album reeks of unnecessary ostentation.
    • 44 Metascore
    • 30 Critic Score
    The Weirdness
    Like every other inferior album by a defunct cult band that has unexpectedly reunited, it is a danger to the band’s legacy.
    • 52 Metascore
    • 20 Critic Score
    City Beach
    The music sounds less and less related to Cunniff’s roots, more and more similar to a slew of interchangeable soft-pop songs, of the type you’re likely to hear in a doctor’s office or a grocery store.
    • 75 Metascore
    • 30 Critic Score
    The Sermon On Exposition Boulevard
    There are only two or three songs here that seem like they deserve company with Jones’s better work.
    • 50 Metascore
    • 30 Critic Score
    Eminem Presents: The Re-Up
    Hip-hop is not at its best on The Re-Up, but there are brief flashes of hope hidden amidst the gunk.
    • 64 Metascore
    • 30 Critic Score
    Sam's Town
    Sam’s Town is so riddled with hackneyed clichés, pandering melodrama, and lazy songwriting, that we keep wondering just what gimmick Flowers will thrust upon us next in a desperate effort to hold our attention.
    • 58 Metascore
    • 20 Critic Score
    The Dutchess
    Fergie prances, preens, moans, talks and raps, but the result is canned and sterile.
    • 41 Metascore
    • 20 Critic Score
    Hoodstar
    Chingy just doesn’t have the charisma, or the skills, or even the production team necessary to make him at all interesting, much less enjoyable.
    • 68 Metascore
    • 30 Critic Score
    Dark Light Daybreak
    Dark Light Daybreak reaches for territory that LeMaster simply is not ready for, and which is unsuited for the songwriting strength he possesses.
    • 60 Metascore
    • 30 Critic Score
    Razorlight
    Razorlight is a bloodless, careerist record that has nothing to say that you haven’t heard a million times before.
    • 48 Metascore
    • 30 Critic Score
    Second Round's On Me
    Second Round’s on Me just emphasizes everything that’s wrong with gangsta rap.
    • 57 Metascore
    • 30 Critic Score
    Feedback
    For the most part Feedback is old-hat and predictable, a watered-down facsimile of their previous work.
    • 61 Metascore
    • 30 Critic Score
    In The Maybe World
    The problem is, it’s easy to lose the lyrics when the music gives us no reason to listen to them.
    • 52 Metascore
    • 30 Critic Score
    Monochrome
    The band has reached its absolute nadir on Monochrome, which commits the cardinal sin of any music: it is freaking boring.
    • 40 Metascore
    • 20 Critic Score
    A Lively Mind
    A Lively Mind... stutters slip-shod through its unoriginal sounds, even more disappointing as these are unoriginal even by Paul Oakenfold’s standards.
    • 55 Metascore
    • 30 Critic Score
    Simpatico
    Spare us from the anaemic, over-produced, shiny white boy skank and shuffle that makes up the bulk of this utterly unexciting, uninspiring, and unimportant album.
    • 64 Metascore
    • 30 Critic Score
    Sound The Alarm
    Saves the Day have given their fans nothing exciting, innovative, or new.
    • 75 Metascore
    • 30 Critic Score
    Ringleader Of The Tormentors
    His newest album is at best a parody of old Morrissey. He has become boring. He has become stagnant. He has become irrelevant.
    • 59 Metascore
    • 30 Critic Score
    Hello Waveforms
    It is nice. It’s like musical Zoloft, actually. It’s white fluffy clouds, kittens and ponies, rainbows and pots o’ gold. It won’t offend anyone.
    • 44 Metascore
    • 30 Critic Score
    Generation
    Because most of the time they choose attitude over melody or innovation, Generation slips into would-have, could-have territory.
    • 59 Metascore
    • 30 Critic Score
    Lights And Sounds
    Unfortunately, the sorta-good parts just don’t make up for the overabundance of flaccid mediocrity on display throughout most of the album.
    • 50 Metascore
    • 30 Critic Score
    A Little More Personal (Raw)
    The red flags run rampant in this album, which has all the personality of HAL 9000.
    • 67 Metascore
    • 30 Critic Score
    Coming On Strong
    At its best, Coming on Strong sounds like a lukewarm Postal Service, and at its worst it sounds like Goldie Lookin' Chain.
    • 63 Metascore
    • 20 Critic Score
    Rehearsing My Choir
    The first and possibly most damaging problem lies in the music, which lacks the focus, coherence, and development to be rewarding beyond a novelty listen.
    • 51 Metascore
    • 30 Critic Score
    Candy Ass
    Eitzel's amateur electronic dabbling, dated and nondescript, suffocates the already stagnant snippets of recycled melodies and exhausted tempos.
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