Prefix Magazine's Scores

  • Music
For 2,104 reviews, this publication has graded:
  • 52% higher than the average critic
  • 2% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Icky Mettle [Deluxe Edition]
Lowest review score: 10 Necessary Evil
Score distribution:
2,104 music reviews
    • 81 Metascore
    • 30 Critic Score
    An Introduction to Elliott Smith [is] a compilation that maybe would have made some sense in 1998 but has no place in 2010.
    • 74 Metascore
    • 30 Critic Score
    It essentially exposes Doherty’s biggest weaknesses: his trite lyrics, his less than perfect voice, and his inability to sound interested in anything he’s doing not under the title "Libertines."
    • 73 Metascore
    • 30 Critic Score
    The lyrics are especially vapid here in the Stadium Arcadium.
    • 73 Metascore
    • 35 Critic Score
    Most of these songs are only pleasant for thirty seconds or so.
    • 72 Metascore
    • 30 Critic Score
    Ahead of the Lions is pure press-a-button-out-comes-album radio pap.
    • 71 Metascore
    • 30 Critic Score
    Having blown out and polished away all of the music's industrial grit, Eisold reveals himself to be little more than a meticulously researched, clinical New Order cover act.
    • 70 Metascore
    • 30 Critic Score
    "Cartoon Motion" was a nice moment for Mika, but this second album does not improve or advance what he did before. In fact, he seems to have regressed through his venture into childhood on The Boy Who Knew Too Much.
    • 69 Metascore
    • 30 Critic Score
    The album has a consistent lack of meaning and genuine feeling.
    • 69 Metascore
    • 35 Critic Score
    Sweet Christ, in no universe will Big Sean be greater than Notorious B.I.G. or Big Pun, and at the rate he's going he'll be lucky to end up a better rapper than Sean Combs, let alone Sean Carter.
    • 69 Metascore
    • 20 Critic Score
    Dylanesque is a mess. Nearly every album has a few bright spots, but this is a lazy collection of covers that offers no insight into the catalog of one of the twentieth century's foremost songwriters.
    • 68 Metascore
    • 30 Critic Score
    Origin is a saccharin mouthful of bloated riffs, burdensome lyrical clichés, and second-rate studio trickery -- songs that lurch rather than rock. In other words, it’s Oasis at their best or the Doves at their absolute worst.
    • 67 Metascore
    • 30 Critic Score
    Sleepy, sporadic and inconsistent.
    • 67 Metascore
    • 20 Critic Score
    Rather than mature effectively, Electric Six has pretty much reached the end; at this point, the band is just cashing out.
    • 67 Metascore
    • 30 Critic Score
    As with all covers records, the crucial issue is whether these renditions bring anything new to these songs. The answer is a resounding no.
    • 66 Metascore
    • 25 Critic Score
    Call And Response is an interesting (and by “interesting” I mean “awful”) remix album due to the fact that no one seems to want to mess with the originals for fear of alienating anyone or veering off from the song’s original composition (likely for the sake of the commercial prospects of the album).
    • 64 Metascore
    • 35 Critic Score
    Even if it came out in 1996, it would still be self-absorbed, turgid, over-produced and soulless.
    • 64 Metascore
    • 30 Critic Score
    If Red Album’s songs were formulaic, shiny, and easily digestible like everything on Green or Maladroit, the vacuity of the new songs wouldn't be as big a problem. But 'Heart Songs,' 'Thought I Knew'--these are just plain bad.
    • 63 Metascore
    • 10 Critic Score
    The album is a stunningly lackluster, impersonal anti-work.
    • 63 Metascore
    • 30 Critic Score
    Thrilling prospect though it may be, the result is a disaster.
    • 62 Metascore
    • 30 Critic Score
    The twelve songs here drip with coatings of sentiment and sparkly instrumentation that are saccharine and plastic.
    • 62 Metascore
    • 30 Critic Score
    Weak and vanilla.
    • 61 Metascore
    • 30 Critic Score
    They seem to have packed up that cleverness with their Scotchgard bongs and headed straight for the wishy-washy world of adult contemporary without even knowing it.
    • 61 Metascore
    • 35 Critic Score
    This album will sway neither the faithful nor the unbelievers from their positions along the borders of her stalled momentum.
    • 61 Metascore
    • 20 Critic Score
    Despite all the stupid records he's put out before, The Return of Dr. Octagon is the first one that plunges wholly into self-parody. He's now a fully realized clown, a prop, a joke and, most disappointingly, a sub-par rapper whose forced ideas and personality obstacles have devolved into flimsy, uninspired character sketches.
    • 61 Metascore
    • 30 Critic Score
    It’s disappointing that a duo this good on paper could be responsible for an album as uninspired as A.M. Even the album’s better songs (the piano-led 'And I Wonder' and the sauntering 'The Wrong Turning') are limp and tedious at best.
    • 60 Metascore
    • 30 Critic Score
    Comparing his remarkable contributions to Deerhoof with this boring, nondescript effort suggests that Cohen should open his studio doors and welcome collaborators.
    • 60 Metascore
    • 35 Critic Score
    It doesn’t challenge listeners or give them anything unexpected or even asked for, really (who's waiting around with bated breath for 'Ring-A-Ling?'), but it’s already a certifiable hit.
    • 60 Metascore
    • 30 Critic Score
    By trying to define they’re own specific legacy, they’re actually ramming it down their listener's throats, and daring the music world to question them.
    • 60 Metascore
    • 30 Critic Score
    In the end, Calling the World left me bored as hell.
    • 60 Metascore
    • 30 Critic Score
    A predictable, oversimplified, boring mess.