Pretty Much Amazing's Scores

  • Music
For 286 reviews, this publication has graded:
  • 59% higher than the average critic
  • 2% same as the average critic
  • 39% lower than the average critic
On average, this publication grades 0.2 points higher than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 The Next Day
Lowest review score: 0 Xscape
Score distribution:
  1. Negative: 11 out of 286
286 music reviews
    • 78 Metascore
    • 75 Critic Score
    This album moves and soothes, if it does anything at all.
    • 78 Metascore
    • 75 Critic Score
    Fuck Off Get Free We Pour Light On Everything explores the moral murk of our times with glorious abandon.
    • 72 Metascore
    • 75 Critic Score
    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.
    • 76 Metascore
    • 75 Critic Score
    In Roses is almost as delicate, but is a pleasant step up from its predecessor thanks to wormier melodies and heightened chemistry between co-vocalists Christopher Barnes and Ieva Berberian.
    • 70 Metascore
    • 75 Critic Score
    It’s light, jangly, and just right for the summer at the end of this wintry tunnel.
    • 84 Metascore
    • 75 Critic Score
    For as commanding and affecting Burn Your Fire for No Witness can be while it plays, the album remains elusive when trying to call it to mind later.
    • 74 Metascore
    • 75 Critic Score
    Voices marks a more complete work from a duo fully in sync; in their element.
    • 78 Metascore
    • 75 Critic Score
    The height at which Oxymoron’s target is set is not very impressive, but the precision and showmanship with which it’s hit deserves commendation.
    • 74 Metascore
    • 75 Critic Score
    Imperfect as it might be, the album’s relentlessness is also it’s chief allure. In reality, Eagulls sounds more innovative than it probably is due to the world in which it arrives.
    • 73 Metascore
    • 75 Critic Score
    Despite the growth it signifies for Mount, and the candor with which he delivers it, Love Letters is so lightly sketched that it never fully engages on a gut level.
    • 79 Metascore
    • 75 Critic Score
    Here and Nowhere Else’s disposition for self-examination coaxes out a superior depth and nuance when stacked against Cloud Nothings’ previous works.
    • 76 Metascore
    • 75 Critic Score
    Tremors manages the feat of being both invigorating and mellow, and no matter how many layers of sound in which the songs find themselves wrapped up, electronic or otherwise, they remain painstakingly personal and human.
    • 78 Metascore
    • 75 Critic Score
    So It Goes comes as close to hardcore as an album with this sonic palette can: dense, immediate, energetic, and uniquely inclusive.
    • 76 Metascore
    • 75 Critic Score
    They make what is quite complex musical structures look easy, almost juvenile, and package them in shiny production gift wrapped for the masses over the airwaves or PA system or turntable.
    • 83 Metascore
    • 75 Critic Score
    Fear of Men have arrived with a storybook in hand, one detailing personal pain with vivid, gentle clarity that should elevate it above any accusations of coyness.
    • 76 Metascore
    • 75 Critic Score
    As expected, Shriek, Wye Oak’s newest full-length, is filled to the brim with surprise.
    • 74 Metascore
    • 75 Critic Score
    For the most part, though, it’s a bloody great collection of songs. The Horrors do have a masterpiece inside them, and with each release it’s bubbling closer to the surface.
    • 66 Metascore
    • 75 Critic Score
    They didn’t just retain relevance; they released the best album of their entire career.
    • 68 Metascore
    • 75 Critic Score
    This is the third Pains record in a row that has enough memorable songs to play almost like a career-spanning Best Of collection.
    • 78 Metascore
    • 75 Critic Score
    It doesn’t provide the thrill-a-minute jolts of Light Up Gold, but Parquet Courts may yet become a garage punk band that millennials can call our own.
    • 75 Metascore
    • 75 Critic Score
    Government Plates doesn’t strive to be a defining post-Epic statement, but it finds Death Grips fascinated with the possibilities offered by its sound and pushing it breathlessly forward.
    • 80 Metascore
    • 75 Critic Score
    Lazaretto will likely have little impact on his legacy one way or the other, but it’s a solid addition to his catalogue.
    • 82 Metascore
    • 75 Critic Score
    It all comes satisfyingly full circle, but Familiars mostly washes over you when it should be lunging for your heart.
    • 82 Metascore
    • 75 Critic Score
    As it turns out, the Philly collective clean up quite nicely, and Sea When Absent is an involving, wonderfully creative mess.
    • 76 Metascore
    • 75 Critic Score
    Is Trouble In Paradise a groundbreaking work of unparalleled foresight and talent? No. But is it a spectacular assessment of La Roux’s painfully progressive growth over the past half-decade? Maybe.
    • 70 Metascore
    • 75 Critic Score
    hese Days… isn’t the kind of sharp-to-the-touch effort that one associates with excellent rappers who eschew the mainstream.... It’s the start of a conversation; and one can only hope that he plans on finishing it.
    • 70 Metascore
    • 75 Critic Score
    While Time isn’t a massive overhaul, Bear in Heaven tweaked where they needed to, and picked up a pretty neat trick along the way. The more you listen to these songs, the more they linger.
    • 66 Metascore
    • 75 Critic Score
    V
    It’s all bolder, fuller, and, well, better.
    • 81 Metascore
    • 75 Critic Score
    There’s an unforeseen clarity in his compositions and vocals.
    • 79 Metascore
    • 75 Critic Score
    It’s not so much a new sound as it is a more robust, balanced sound--a beautiful chair perfectly placed in an already beautiful room.