Pretty Much Amazing's Scores

  • Music
For 382 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 0.1 points higher than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 Carrie & Lowell
Lowest review score: 0 Xscape
Score distribution:
  1. Negative: 16 out of 382
382 music reviews
    • 74 Metascore
    • 67 Critic Score
    Black Hours is a throwback, but it’s a throwback that could have benefitted from a few more forward-looking ideas.
    • 77 Metascore
    • 67 Critic Score
    Birkenes’ vox often skews towards the incorporeal, a little too airy for its own good, and requires some form of substance to keep it tethered to the music. Without it, Pocketknife threatens to float away into some ethereal realm (as it tends to do in the latter half). That being said, Birkenes does craft some gems throughout the record.
    • 76 Metascore
    • 67 Critic Score
    Although it exhibits significant growing pains, it still makes for an exciting and entertaining spin.
    • 76 Metascore
    • 67 Critic Score
    Though her new material is of mixed quality, Sia’s instrument remains uniformly magnificent. She executes vocal cartwheels throughout these twelve songs, delivering great pain with even greater triumph.
    • 68 Metascore
    • 67 Critic Score
    In The Wild won’t ruffle feathers, but it’s rarely less than enjoyable.
    • 83 Metascore
    • 67 Critic Score
    Short of their obvious opposition, there is little here in the way of meaningful tension between the Angels & Devils.
    • 61 Metascore
    • 67 Critic Score
    Though at times a little errant and borderline-satirical, A New Testament succeeds because it showcases backward-facing storytelling and incontrovertibly catchy vintage American music.
    • 84 Metascore
    • 67 Critic Score
    It’s one of Snaith’s least cohesive and affecting full-lengths, even as it provides us with some of his strongest individual tracks to date.
    • 72 Metascore
    • 67 Critic Score
    Given a dearth of hooks, Tomorrow’s Modern Boxes demands a decent set of headphones to appreciate its foremost asset, technical construction.... Tomorrow’s Modern Boxes disappoints most when it approximates ordinary song structures.
    • 80 Metascore
    • 67 Critic Score
    Despite consisting of well-crafted, thoughtful songs, the emotional gutpunch that is to be expected from a Grouper album never quite arrives over multiple listens.
    • 68 Metascore
    • 67 Critic Score
    Everything musical seems startlingly familiar, and not in the paying-homage-to-the-denizens-of-rock-past way the album’s conceit might have you imagine.
    • 77 Metascore
    • 67 Critic Score
    They’re not always entirely compelling, but it’s difficult to question Meloy & co’s sincerity in these Kumbaya moments, and that is the band’s true triumph here.
    • 73 Metascore
    • 67 Critic Score
    Uptown Special exhibits a long-playing cohesion missing from his prior output. The sense of free-wheeling fun, however, is largely absent with the exception of the record’s funky A-side trifecta.
    • 78 Metascore
    • 67 Critic Score
    For the most part, Space holds it together, but there are a few moments that feel a little... moronic.
    • 82 Metascore
    • 67 Critic Score
    The about-faces make for an engaging, challenging listen, but by the end it all seems a bit vague.
    • 70 Metascore
    • 67 Critic Score
    The album is good, which is a component never worth underscoring. But it could be much more than that.
    • 72 Metascore
    • 67 Critic Score
    Blade Of The Ronin is a well-crafted, entertaining, and moderately inspired follow-up that doesn’t do justice to the fourteen-year wait, but it reimagines Can Ox as competent storytellers rather than progressive geniuses.
    • 72 Metascore
    • 67 Critic Score
    In the absence of the chill-ed out R&B and funk that defined his early sound, Toro y Moi’s newest album just doesn’t stand out from an increasingly crowded field.
    • 69 Metascore
    • 67 Critic Score
    The Air-Conditioned Nightmare is ultimately an experience as disorienting as the sensations and emotions that Woodhead describes, strangely beautiful one minute and aggressively ear-splitting the next.
    • 69 Metascore
    • 67 Critic Score
    It’s an enjoyable and diversionary, if not particularly nutritious, experience.
    • 80 Metascore
    • 58 Critic Score
    Until Ex Cops stumble upon a niche and make it their own, their career is going to be eclipsed by listeners hearing influence over innovation in their music.
    • 68 Metascore
    • 58 Critic Score
    On Naomi, the Cave Singers don’t really fail at anything; however, save for a couple of moments, they don’t offer up anything all that memorable either.
    • 67 Metascore
    • 58 Critic Score
    Zooey Deschanel and M. Ward continue to prove She & Him is more than mere novelty. Now we just need some richness and depth.
    • 82 Metascore
    • 58 Critic Score
    ...Like Clockwork is a droning, incoherent endeavor, and it simply doesn’t reward the attention it’s asking for.
    • 73 Metascore
    • 58 Critic Score
    Neither engaging enough to be exhilarating, nor boisterous enough to be obnoxious, Perpetual Surrender simply gazes at its shoes without making much of an impression at all.
    • 68 Metascore
    • 58 Critic Score
    Unfortunately, apart from the delicious pop dance tunes of “Spirit” and “Unhold,” Apar fails to make any real waves.
    • 79 Metascore
    • 58 Critic Score
    As with The King of the Limbs, Beautiful Rewind is always keeping us at arm’s length, coldly allowing us to admire the craft without letting us in on the secret. It can make for a lonely listen.
    • 73 Metascore
    • 58 Critic Score
    Static lacks variety. It’s just a short-fused, gloomy rehash, and what little has been changed isn’t really an improvement.
    • 80 Metascore
    • 58 Critic Score
    True, not every album needs to make a statement; sometimes it’s just nice to have music to listen to with your eyes closed and your brain off. But they can do better.
    • 79 Metascore
    • 58 Critic Score
    Unfortunately, Night Time, My Time goes awry at “Omanko,” a grave misstep that verges on parody. From there on out, the record’s spotty.