Pretty Much Amazing's Scores

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For 761 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.6 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 The Life Of Pablo
Lowest review score: 0 Xscape
Score distribution:
  1. Positive: 582 out of 761
  2. Mixed: 156 out of 761
  3. Negative: 23 out of 761
761 music reviews
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    • 85 Metascore
    • 75 Critic Score
    Semper Femina
    “Soothing” sounds legitimately fresh in a way very little new music does, and while it carries inescapable echoes of other artists (the bass line reminds me of peak career Tom Waits), the overall impression is that Laura Marling is paving new ground in her brand of folk music. Unfortunately--you knew there was going to be an “unfortunately”--there are only small glimpses of that innovation on the rest of the album.
    • 64 Metascore
    • 75 Critic Score
    My Everything
    Despite its shortcomings, My Everything succeeds in its primary objective. This is a pop record, clear and simple.
    • 75 Metascore
    • 75 Critic Score
    25
    25 is not a bad album, nor is it an excellent one--it’s just good, that’s all.
    • 75 Metascore
    • 75 Critic Score
    Sunlit Youth
    Sunlit Youth does feel more indebted to contemporary indie bands like Young the Giant or Phoenix than their previous records, but it’s also a fascinating snapshot of the band during an inevitable transitional phase.
    • 77 Metascore
    • 75 Critic Score
    The Bob's Burgers Music Album [Original Television Soundtrack]
    Bouchard really puts work into these tunes. He strives to make each one better than it really needs to be.
    • 76 Metascore
    • 75 Critic Score
    Aa
    For what Aa ultimately assumes itself to be--a glorified promo tape of talents--the result is quite enjoyable.
    • 79 Metascore
    • 75 Critic Score
    Factory Floor
    Punitive, scientifically exacting, and obstinately anti-melodic, Factory Floor is a bizarre, kinetic manifesto that rewards your attention while it screams at you to move your body.
    • 75 Metascore
    • 75 Critic Score
    The 20/20 Experience
    20/20 is a total blast. You have to hand it to Justin Timberlake. Few pop artists have the skill and bravery to make such a stunning mess.
    • 75 Metascore
    • 75 Critic Score
    Nightride [Mixtape]
    It’s when Nightride decides to shift gears in the latter half that the outing gets really exhilarating.
    • 84 Metascore
    • 75 Critic Score
    Cardinal
    There’s no flash here, just a finely crafted batch of searingly personal indie rock songs. Unless you never had to grow up, it will resonate.
    • 71 Metascore
    • 75 Critic Score
    After the Disco
    Taken solely as part of the Broken Bells discography it’s their best effort yet: a textured, kaleidoscopic pop record that crackles with imagination, and hints at the sign of something brilliant to come.
    • 82 Metascore
    • 75 Critic Score
    Oh No
    Songs on Oh No never outright fail, but they don’t all inspire the same level of intrigue and enthusiasm. There are moments when Lanza sings entirely in falsetto over an ambient afterglow where you will get FKA Twigs deja vu.
    • 60 Metascore
    • 75 Critic Score
    Secondhand Rapture
    It does not always work, but in short, orchestral bursts, MS MR demonstrate that they can transcend the confines of goth synth-pop, and produce one of the most memorable debuts of the year.
    • 74 Metascore
    • 75 Critic Score
    Heads Up
    Even in ending on a starkly depressing note, Heads Up is a strong, evocative record that solidifies Warpaint as one of the genre’s most creative and entertaining.
    • 78 Metascore
    • 75 Critic Score
    Not All Heroes Wear Capes
    For a producer who’s produced songs for a who’s who of modern artists (including the occasional non-rapper like Lana Del Rey), he mostly sticks to his guns on his debut album, which applies to both the sonics (there was no way any producer sampling Annie’s “Anthonio”--the Berlin Breakdown version--was going to be bad; that’s the ear-worming sample doing all the heavy-lifting on “Overdue”) and the features.
    • 73 Metascore
    • 75 Critic Score
    Oxnard
    Ultimately, the bigged up production doesn’t suit .Paak’s soulful tendencies, which are further lost in his switch to rap. There are a few highlights, sure, but not nearly enough for an artist who I would’ve placed bets would be the next Big Thing.
    • 80 Metascore
    • 75 Critic Score
    The Wilderness
    It lacks the game-changing element of The Earth is Not a Cold Dead Place or Those Who Tell the Truth. Instead of pushing into new universes, they’re content to find a quiet corner in one they’ve already built. That being said, the craft involved is evident, and there’s an assuredness and polish to the compositions; the fingerprints of a veteran group.
    • 80 Metascore
    • 75 Critic Score
    Triplicate
    It’s a truly overwhelming amount of a somewhat good thing.
    • 61 Metascore
    • 75 Critic Score
    Edward Sharpe & the Magnetic Zeros
    The freedom of expression and thematic irregularity that we hear while listening to Edward Sharpe and the Magnetic Zeros is a fabulous release from the traditionally despised contract that constrained Ebert’s first and former band, Ima Robot.
    • 79 Metascore
    • 75 Critic Score
    Dedicated to Bobby Jameson
    Title track aside, this a really good album by a really sketchy guy.
    • 80 Metascore
    • 75 Critic Score
    Crawl Space
    Because of its contemplative nature, Crawl Space functions best as a deep listen rather than a casual playlist; while pleasant, its concentrated complexity requires attention to fully appreciate Teicher’s vision.
    • 78 Metascore
    • 75 Critic Score
    The Chronicles of Marnia
    Fans of Marnie’s music are fully aware of what an album of hers going to bring, and on The Chronicles of Marnia, she brings it.
    • 78 Metascore
    • 75 Critic Score
    Post Tropical
    This album moves and soothes, if it does anything at all.
    • 82 Metascore
    • 75 Critic Score
    I Had a Dream That You Were Mine
    The production is superb, crisp drums that pop, keys that sparkle and tones that you recognize from Rostam’s other production. ... When Hamilton and Rostam record together they use the same voice.
    • 78 Metascore
    • 75 Critic Score
    Hallucinogen [EP]
    It’s not something that plays as well in the daylight. But when it soundtracks your darker, interior night life, it’s like being given a tailored suit. Everything fits, and the sum effect is something sharp and modern.
    • 77 Metascore
    • 75 Critic Score
    New
    Sure, the lyrics are sometimes a little silly, and the musical hooks are sometimes a trifle too easy. But even at its worst, this is fun stuff.
    • 68 Metascore
    • 75 Critic Score
    Comedown Machine
    The elements are still there, but they aren’t fused in a way consistent with the hopes of those who foresaw The Strokes being the best rock band of our tim
    • 82 Metascore
    • 75 Critic Score
    Familiars
    It all comes satisfyingly full circle, but Familiars mostly washes over you when it should be lunging for your heart.
    • 70 Metascore
    • 75 Critic Score
    Rapor [EP]
    Rapor is an absorbing and accomplished 80’s sheened synth-pop EP infused with heartache and imagination.
    • 73 Metascore
    • 75 Critic Score
    An Object
    No Age may not have delivered another knockout, but An Object compensates for its shortcomings by being a mature and often moving album, a first for the duo.
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