Pretty Much Amazing's Scores

  • Music
For 291 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 Rival Dealer [EP]
Lowest review score: 0 Xscape
Score distribution:
  1. Negative: 11 out of 291
291 music reviews
    • 74 Metascore
    • 58 Critic Score
    It still sounds like The Afghan Whigs, but it sounds more like re-workings of b-sides that may have shined in the sun of another decade.
    • 80 Metascore
    • 58 Critic Score
    Honest is a good deal more middle-of-the-pack for a post-Yeezus 2014 than its creator wants to admit.
    • 69 Metascore
    • 58 Critic Score
    Overall, In Cold Blood is a pleasant listen in small doses, functioning better in manageable chunks than as a whole forty-minute work.
    • 79 Metascore
    • 58 Critic Score
    Only the opening stanza of “Waitress Song”--in which a major label signee fantasizes about escaping heartbreak by assuming a romanticized working class identity--is outright egregious. The rest is just innocuous.
    • 61 Metascore
    • 58 Critic Score
    This album gets a C+ because I really enjoyed the time I spent hating it.
    • 64 Metascore
    • 58 Critic Score
    Atmospherically, Barragán falls to a part of the spectrum Blonde Redhead have never found themselves on before, but half of the songs here feel like placeholders for ideas that haven’t been fully excavated.
    • 74 Metascore
    • 58 Critic Score
    Banks’ debut, sometimes promising and even wonderful, could have been revelatory.
    • 63 Metascore
    • 58 Critic Score
    When every song is short and recorded in the same minimalistic style, it often feels like just when you’re starting to get into a song, you’re immediately whisked away to another idea, to another moment that should have been spent finishing that first thought that now will never be finished.
    • 69 Metascore
    • 58 Critic Score
    Alt-J remain impossible to put a pin in, which makes This Is All Yours almost as frustrating as it is absorbing.
    • 72 Metascore
    • 50 Critic Score
    Its songwriting, production, and delivery harbor no risks, and therefore the album safely passes by its listeners without leaving anything but a want for something a little more lively.
    • 59 Metascore
    • 50 Critic Score
    For an album that embraces the theme of technology, Beta Love sounds stuck in the past, belonging to an era in which the novelty of overusing the synthesizer has not yet worn off.
    • 62 Metascore
    • 50 Critic Score
    An impenetrable, overwrought, hit-and-miss product marred by ego.
    • 64 Metascore
    • 50 Critic Score
    Because The Internet is just a giant non-sequitur, a pop culture gag reel that relies a little too heavily on flippancy to ring true.
    • 66 Metascore
    • 50 Critic Score
    [Angel Haze is] disappointing, misguided, flaccid.
    • 87 Metascore
    • 50 Critic Score
    Simply put, this record has no teeth.
    • 62 Metascore
    • 50 Critic Score
    Maximo’s strength has always been in scorching post-punk anthems (“Our Velocity”, “Graffiti”) and hyper-literate melancholic balladry (“Acrobat”, “This Is What Becomes of the Broken Hearted”), which work so well when bolstered by Paul Smith’s erudite lyrics and uniquely accented delivery. They pull off the former on “My Bloody Mind” and the latter on the excellent “Leave This Island”, but elsewhere the hooks and melodies rarely match the frontman’s grasping literary pretensions.
    • 74 Metascore
    • 50 Critic Score
    For now, Little Red stands as an example of what happens when the zeitgeist leaves you behind.
    • 79 Metascore
    • 50 Critic Score
    Ultimately, The Unnatural World is a frustrating album.
    • 68 Metascore
    • 50 Critic Score
    Mastermind passes by as a single, indistinguishable blur. To the credit of Ross and his many co-producers, the experience is rarely leaden and often engaging.
    • 68 Metascore
    • 50 Critic Score
    Apocalypse Soon struggles to keeps things interesting over its modest seventeen minute run.
    • 60 Metascore
    • 50 Critic Score
    Simply put, it’s just another Kid Cudi album--a scattered collection of songs developed as a concept album, but never fitting together to form something great.
    • 68 Metascore
    • 50 Critic Score
    While Space Project ultimately feels more like a noble failure than an attempted Record Store Day cash-in, its general lack of wonderment adds little to the imaginative legacy of Carl Sagan and the Voyager Golden Record.
    • 76 Metascore
    • 50 Critic Score
    Lurching drum-machine beats, gentle piano chords, and somber string arrangements form the musical groundwork upon which Albarn sighs about the encroaching dominance of technology. If you’re the kind of person who shares this worldview, you may find Everyday Robots an often lovely demonstration of post-millennium tension. If not, the album’s monotony can fast become punishing.
    • 77 Metascore
    • 50 Critic Score
    Most of the time, Nabuma Rubberband sounds well put-together but empty, all style and no content, the kind of album that won’t offend you while you’re listening to it but which you’d be hard-pressed to remember any of once closer “Let Go” comes to an end.
    • 64 Metascore
    • 50 Critic Score
    The most optimistic light to view Only Run in is also the most condemning; it’s not so much a fully realized album as it is a promising blueprint for songs that haven’t yet been written.
    • 80 Metascore
    • 50 Critic Score
    The best offerings here are “Blind Faze” and “2 Shy”, Fleetwood-fashioned tracks that sway playfully, celebratory in their own modest way. The rest doesn’t hit hard enough, and doesn’t even really seem like it wants to.
    • 63 Metascore
    • 42 Critic Score
    It’s characterised by the same confused nature that marred much of their last LP--hurtling from one style to the other but mostly falling short of what they’ve previously achieved.
    • 70 Metascore
    • 42 Critic Score
    Mechanical Bull is the sound of Kings of Leon de-fanged, de-crowned, and de-throned, further evidence of their inexorable slide towards artistic irrelevance.
    • 63 Metascore
    • 42 Critic Score
    Grab a latte and strap on your headphones, lovebirds--it’s about to get soft rock up in here.
    • 61 Metascore
    • 42 Critic Score
    Prism does have two bright moments of success when everything comes together and we get a glimpse of the better-written album that could have been. First is opener “Roar.”... Meanwhile, on the mostly lackluster Side B, there’s another empowerment anthem, “Love Me,” that’s the polar opposite of “Roar” in nearly every other way.