PopMatters' Scores

  • TV
  • Music
For 7,879 reviews, this publication has graded:
  • 42% higher than the average critic
  • 4% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 4.9 points lower than other critics. (0-100 point scale)
Average Music review score: 67
Highest review score: 100 Keep An Eye On The Sky
Lowest review score: 0 Travistan
Score distribution:
7,879 music reviews
    • 88 Metascore
    • 80 Critic Score
    It's sad for Ford's memory, but lucky for us: Harlan County remains a solitary delight, away and apart, to itself.
    • 88 Metascore
    • 80 Critic Score
    The musicians on this compilation are a testament to the creativity, dynamism and exuberance of the Haitian people.
    • 88 Metascore
    • 70 Critic Score
    If there are any faults on Foundations of Burden, it’s that the middle portion of the album tends to succumb to a sameness sound, which is almost inevitable when you have two 10-minute plus tracks back to back. Fortunately, the demand for subsequent listens is hardly a laborious task, given Brett Campbell’s stellar, sustained vocal delivery.
    • 88 Metascore
    • 80 Critic Score
    All We Love We Leave Behind is proof positive that the incandescent flame of Converge's fury is fully under their direct control, and because of this ability to harness their elemental power, the Converge of 2012 sound just as fearless and peerless as ever.
    • 88 Metascore
    • 90 Critic Score
    Black Tambourine is indispensable listening for anyone with even a passing interest in indie pop's past or current renaissance and a wholly welcome reminder of the unwavering greatness of one of the genre's truly seminal bands.
    • 88 Metascore
    • 70 Critic Score
    This massive re-release of what is arguably the Pumpkins' crowning achievement lives up to the lofty heights set up by the original album: it's sprawling, ambitious, overlong, frustrating, and fascinating all at once.
    • 88 Metascore
    • 90 Critic Score
    So fresh, so revelatory, so alive.
    • 88 Metascore
    • 80 Critic Score
    Fishscale owes a large part of its success to Ghostface’s vivid storytelling.
    • 88 Metascore
    • 90 Critic Score
    Cadillactica stands on its own as a deviation in sound but a continuation of greatness. An intriguing concept, exceptional production, and captivating lyricism ensure that a trip to Cadillactica is one that will stick with you for life.
    • 88 Metascore
    • 90 Critic Score
    It's an accessible album, but one containing challenging contrasts. In the end, what's most impressive is how Arulpragasam powerfully weaves a consistent theme of rootlessness throughout the record, drawing on her experiences in both the third world and modern London, from civil war to Western urban culture, and her own, highly unique, bastardized form of pop music is the extraordinary end result.
    • 88 Metascore
    • 90 Critic Score
    You’re Dead! is arguably his most imposing album thus far.
    • 88 Metascore
    • 90 Critic Score
    Tokumaru’s music, it’s now well established, is quirky but profound, foreign but still universal.
    • 88 Metascore
    • 80 Critic Score
    With 23 discs to sort through what matters most is the main album cuts and not the odds and ends unique to this box with one exception: a 1980 recording from Woodstock, New York titled Wild in Woodstock. Recorded in a studio up there with the understanding that the band would add crowd noises later, this “live” album retains the best Isley sensibilities for the stage.
    • 88 Metascore
    • 70 Critic Score
    Bon Iver defiantly makes a small-scale statement on For Emma, Forever Ago, so much that if you don’t concentrate, you’ll pass this over.
    • 87 Metascore
    • 80 Critic Score
    The new album doesn’t have the political commentary that we saw on those two [Childish Things (2005) and Just Us Kids (2008)], but it’s likely we’re going to see Complicated Game on the nominee list come next year. It’s that good.
    • 87 Metascore
    • 80 Critic Score
    Unwound plays with a tightness and richness that few bands can touch anymore; they have turned into the metal Minutemen.
    • 87 Metascore
    • 80 Critic Score
    That Fleet Foxes have crafted such a sublime debut less than two years into their existence as a band speaks to their collective pop genius .
    • 87 Metascore
    • 80 Critic Score
    Baroness simply lets the songs do their thing, never beating us over the head, never pandering, and in so doing, they’ve created a surprisingly adventurous album, further establishing their position as one of the finest, not to mention likeable bands in America these days.
    • 87 Metascore
    • 70 Critic Score
    The most sonically satisfying statement to emerge yet from the Collective.
    • 87 Metascore
    • 90 Critic Score
    That level of "realness", the way that the songs ring true whether he's bragging or self-criticizing, joking or praying, is what makes The College Dropout more than worthy of all of the attention that it's getting.
    • 87 Metascore
    • 60 Critic Score
    It’s a good album, but not a great one, and though the long tail of history will eventually render such a long production time moot, it’s certainly not a record justifying the ludicrous wait.
    • 87 Metascore
    • 90 Critic Score
    Silent Movies is able to take all of the disparate descriptions above and press them into one unifying album. Marc Ribot really ought to have the opportunity to score films more often, because the results can be breathtaking.
    • 87 Metascore
    • 90 Critic Score
    This reissue of A New Way to Pay Old Debts tacks on the two-song "High Wasted" 7-inch and four previously unreleased tracks from the original recording sessions, making this scuzz-fuzz journey through the dirt and clay beneath the Mississippi Delta even more essential than it was upon its initial run through the experimental woodlands.
    • 87 Metascore
    • 90 Critic Score
    Few bands today are as good at telling a simple, straightforward, from-the-gut story like the Drive-By Truckers are.
    • 87 Metascore
    • 90 Critic Score
    Aside from a couple of hiccups (the clunky R&B of "Get By", the silly call and response of "Knock Knock"), it's every bit as good as Boy in da Corner, and sometimes even better.
    • 87 Metascore
    • 90 Critic Score
    It’s a poignant, reflective, and very often frank portrayal of humanity’s dual impulses authored by someone who has lived several chapters, yet knows the story is constantly being rewritten.
    • 87 Metascore
    • 90 Critic Score
    The band has never sounded stronger on record as they do here.
    • 87 Metascore
    • 80 Critic Score
    Sometimes Cash is a little wordy and other times Leventhal’s melodies kind of drift off, but mostly the two mesh together well.
    • 87 Metascore
    • 90 Critic Score
    Balanced, not bombastic, long-practiced, and utterly identifiable even when playing across different styles--that's a great band. And Historicity is the album they had to make.
    • 87 Metascore
    • 80 Critic Score
    It’s easy to say this is a post-Hüsker Dü album, but the story of Workbook is a more complicated one than that, and 25 years later it still plays like a story worth hearing.