Pretty Much Amazing's Scores

  • Music
For 420 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 0.3 points higher than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 M B V
Lowest review score: 0 Xscape
Score distribution:
  1. Negative: 18 out of 420
420 music reviews
    • 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.
    • 72 Metascore
    • 58 Critic Score
    As an artist revisiting a previous masterwork, he’s chosen to add maturity in all the wrong spots. Lowbrow nods interspersed with pointed criticisms of nearly everyone of note made Eminem a star, but most of the references and insults here feel dated. It’s about as timely as catching up on last year’s episodes of TMZ on your DVR.
    • 71 Metascore
    • 58 Critic Score
    It’s just a quick way to get to what’s relevant about them, an I.V. drip of catchy tunes from a time when your emotions were still raw and tender.
    • 79 Metascore
    • 58 Critic Score
    Brothers and Sisters of the Eternal Son is long on atmospherics, but woefully short on songs.
    • 68 Metascore
    • 58 Critic Score
    Supreme Cuts know how to construct a track, but if it’s staying power they’re after, they’ll need to develop a more original sense of what their music is, what it can do, and the places it can go.
    • 69 Metascore
    • 58 Critic Score
    Despite its outward bustle and injections of colour throughout, the album’s personality is also disappointingly tentative and placid.
    • 75 Metascore
    • 58 Critic Score
    Unlike the best of the Notwist’s output, Close to the Glass isn’t emotionally nourishing, primarily because there’s no real sense that anything is at stake.
    • 72 Metascore
    • 58 Critic Score
    A record that’s all too often content with mediocrity even though its finest moments reveal just how close it came to greatness.
    • 64 Metascore
    • 58 Critic Score
    Taking a hard line against any sort of compromise, Sisyphus is equally amazing, confusing and frustrating.
    • 74 Metascore
    • 58 Critic Score
    Teeth Dreams is nowhere near the best Hold Steady album, but it shows the band aging in a direction that fills us with… hope? Perhaps that’s all we can ask for.
    • 69 Metascore
    • 58 Critic Score
    Forcefield a passable, fun album.
    • 80 Metascore
    • 58 Critic Score
    New album Hot Dreams still struggles to find a unique vantage point on its assembly of vintage sounds and gothic vibes, but fans will be more than satisfied.
    • 80 Metascore
    • 58 Critic Score
    For The Future’s Void, she’s traded in the tarnished grace and drug-ravaged ten-mile stare of her past life, but it’s not always such a fair deal for the listener.
    • 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.
    • 80 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.
    • 65 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.