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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    • 83 Metascore
    • 83 Critic Score
    Nothing Feels Natural
    “Suck” is a fun funk-inspired dance reminiscent of early Blondie, but doesn’t match the overall mood of the record, leading it to sound out of place. Nonetheless, Nothing Feels Natural is a great debut from an exciting band; arguably the best debut of the year.
    • 83 Metascore
    • 83 Critic Score
    Hopelessness
    Even if I miss the personal struggles of I Am a Bird Now and The Crying Light, Anohni and her collaborators have created a dazzling musical artifact. Hopelessness ultimately betrays its title, and its banner-waving, because the voice at its center is fundamentally the opposite of defeated.
    • 83 Metascore
    • 91 Critic Score
    Nikki Nack
    The album thrums with vitality and elation.
    • 83 Metascore
    • 83 Critic Score
    Age Of
    All told, Oneohtrix Point Never’s latest album is good, but it’s also his worst ‘proper’ album since his critical breakthrough. In attempting (but not fully committing to) his most accessible release, Age Of doesn’t feel like it’ll go down well with any particular audience.
    • 83 Metascore
    • 75 Critic Score
    Loom
    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.
    • 83 Metascore
    • 83 Critic Score
    Mr Twin Sister
    Favorite records tend to draw us back in again and again because they offer a specific, familiar feeling, yet it remains difficult to rate, categorize or even define an album as restlessly mutable as ­Mr Twin Sister.
    • 83 Metascore
    • 83 Critic Score
    Star Wars
    The record boasts snappy hooks, passive-aggressive bon mots, and plenty of noise, proving that Tweedy has no intention of calming down anytime soon.
    • 83 Metascore
    • 91 Critic Score
    Goths
    Though it’s a tad long, and there are points where I get the sense that the band is still feeling out this new sound, Darnielle and crew have crafted a marvelous record that earns its place in the esteemed Mountain Goats canon while standing tall on its own merits.
    • 83 Metascore
    • 83 Critic Score
    B'lieve I'm Goin' Down
    While B’lieve won’t always command attention, that’s part of what makes it such a pleasant experience--Vile freely expresses himself without demanding anything in return.
    • 82 Metascore
    • 83 Critic Score
    Transgender Dysphoria Blues
    This album is powerful, occasionally transcendent, always honest and never less than entertaining.
    • 82 Metascore
    • 91 Critic Score
    Brick Body Kids Still Daydream
    Open Mike Eagle is one of the few artists that seems to improve with every release, and just when you thought he couldn’t get better than a full collaboration with Paul White on yesteryear’s Hella Personal Film Festival, he does just that. It helps that the various producers manage to make unique beats that still fit in with the album’s general aesthetic.
    • 82 Metascore
    • 83 Critic Score
    The Electric Lady
    The Electric Lady is mostly a classic R&B and soul album, sprinkled with some torchy jazz and gospel, and a star-dusting of Ziggy-era Bowie.
    • 82 Metascore
    • 83 Critic Score
    Panda Bear Meets the Grim Reaper
    It’s frequently arrestingly beautiful (“Selfish Gene”) or driven nearly wild with joy (raucous party-starter “Mr Noah”), but always with a visceral, off-kilter kick where Panda Bear’s last pair of full-lengths opted for heavenly effervescence or communal transcendence.
    • 82 Metascore
    • 58 Critic Score
    ...Like Clockwork
    ...Like Clockwork is a droning, incoherent endeavor, and it simply doesn’t reward the attention it’s asking for.
    • 82 Metascore
    • 83 Critic Score
    In Conflict
    Throughout In Conflict, Pallett opens up his compositions even more than his lyrics, but the songwriting is no less brainy, and themes no less tangled, than on his earlier work.
    • 82 Metascore
    • 83 Critic Score
    Singles
    ingles is sometimes stark, and sometimes surprising – but its key constant is that it’s rarely short of spellbinding.
    • 82 Metascore
    • 83 Critic Score
    Ty Segall (2017)
    It might be his best work to date. Just about everything here is good.
    • 82 Metascore
    • 75 Critic Score
    Love Streams
    Love Streams is far from Hecker’s best release. But it’s a promising development in his career, in that it proves not only that Hecker hasn’t run out of ideas but that he’s still bursting with them.
    • 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.
    • 82 Metascore
    • 83 Critic Score
    Now Only
    Pleasure for the listener is probably moot for a project like this, but Elverum has an instinctive gift for immersive, imagistic arrangements, and it’s wonderful to hear him indulge it again on Now Only.
    • 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.
    • 82 Metascore
    • 83 Critic Score
    Salad Days
    It’s a record that boasts glaring maturity without diminishing the iconic immaturity.
    • 82 Metascore
    • 83 Critic Score
    JEFFERY [Mixtape]
    Jeffery isn’t the best rap album of the year, but it comes on strong enough to convince you--even for a few fleeting minutes of “Wyclef Jean”--that it just might be.
    • 82 Metascore
    • 83 Critic Score
    Everybody Works
    [“The Bus Song” is] Unpretentious and thoroughly enjoyable indie pop/rock; expertly crafted. Nothing on the album comes close to it, even though there are moments.
    • 82 Metascore
    • 75 Critic Score
    Shadows in the Night
    Shadows is no lark: it’s a gentle and undulating return to Dylan’s salad days.
    • 82 Metascore
    • 75 Critic Score
    For All We Know
    As it stands, it’s a moderate success following her appearance on Disclosure’s Caracal and Samsung commercials.
    • 82 Metascore
    • 83 Critic Score
    4:44
    4:44 is just about the safest way Jay-Z could have re-asserted his dominance: smarter raps over soulful beats over a very concise runtime.
    • 82 Metascore
    • 83 Critic Score
    Doris
    Doris displays some of those growing pains, but it also delivers a uniquely impressive collection of vicious beats and lyrics that make Magna Carta...Holy Grail sound like Marky Mark.
    • 82 Metascore
    • 83 Critic Score
    Cilvia: Demo [EP]
    With Cilvia Demo, Rashad proves his place in the Californian crew’s lauded lineup, and TDE show their own versatility on the cusp of hip hop takeover.
    • 82 Metascore
    • 67 Critic Score
    2012-2017
    The way it ping-pongs between pastiche and higher art is interesting. But so much of this music has been done better by other artists that it’s understandable if you see no reason to listen to 2012-2017 in favor of superior disco edits by Tiger & Woods or DJ Harvey, or more beguiling avant-acid house by Africans with Mainframes--or, y’know, a Nicolas Jaar album.
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