Pretty Much Amazing's Scores

  • Music
For 706 reviews, this publication has graded:
  • 58% higher than the average critic
  • 2% same as the average critic
  • 40% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Masseduction
Lowest review score: 0 Xscape
Score distribution:
  1. Negative: 23 out of 706
706 music reviews
    • 65 Metascore
    • 50 Critic Score
    As their original creative well starts to run dry, Relaxer’s experimentalism suggests that Alt-J will continue to struggle with other styles.
    • 63 Metascore
    • 67 Critic Score
    The moments when his music really comes alive with joy are the best on Teenage Emotions, and they’re often the less rap-oriented moments.
    • 100 Metascore
    • 100 Critic Score
    With an extraordinary remix of Sgt. Pepper, Giles Martin has knocked down the wall between the myth of the greatest pop album of all time and the listener’s experience.
    • 77 Metascore
    • 75 Critic Score
    Bouchard really puts work into these tunes. He strives to make each one better than it really needs to be.
    • 84 Metascore
    • 83 Critic Score
    It feels like a natural evolution of what Coltrane was doing, anyway.
    • 68 Metascore
    • 75 Critic Score
    Harry Styles is fun listening and will rightly soundtrack many a summer. But after demanding to be treated as a capital-A Artist, Harry Styles finds himself atop a pedestal without anything to say.
    • 84 Metascore
    • 83 Critic Score
    More often than not, however, this album brings you into its world and convinces you that love really is redemptive, that it can hold back the hounds at the gate.
    • 82 Metascore
    • 83 Critic Score
    If a person asks how to get into Slowdive, the correct answer is still to start with Souvlaki but Slowdive wouldn’t be a bad second choice.
    • 79 Metascore
    • 42 Critic Score
    Forest Swords' second record is simplistic on purpose, but that doesn’t make it feel less empty.
    • 80 Metascore
    • 83 Critic Score
    Feist is sounding her most directional in a decade.
    • 77 Metascore
    • 75 Critic Score
    Humanz, Damon’s fourth record as Gorillaz, is not his best, but it didn’t need to be. It’s a comeback record that’s less immediate and sugary than Plastic Beach, less iconic than the self-titled or Demon Days. It is a party record that sounds like it was made at a party rather than for one.
    • 81 Metascore
    • 75 Critic Score
    AZD
    AZD is a slim, sparse electronica record. For all its high and low frequencies, it leaves much of the human audible range empty, space to imagine.
    • 95 Metascore
    • 100 Critic Score
    This one is no less ambitious and rewarding than some of his previous entries.
    • 77 Metascore
    • 75 Critic Score
    Nothing on The Far Field is comparable to the sheer synthpop perfection of “Seasons (Waiting On You)”, but few things are, and Future Islands prove on this release that they have some serious staying power.
    • 78 Metascore
    • 83 Critic Score
    Here, the music feels more organic and in line with the songcraft that has formed the band’s backbone to date.
    • 70 Metascore
    • 58 Critic Score
    The main pitfall of this record is its pacing. Bob’s best moments are lightning fast, like the 28 tracks in 41 minutes Alien Lanes. By contrast, this record is 32 tracks in 71 minutes. Its top moments are when it is moving the fastest.
    • 87 Metascore
    • 83 Critic Score
    It’s beautiful. The second half of the album, as mentioned earlier, is less interesting.
    • 64 Metascore
    • 58 Critic Score
    The problem with The Ride is just that it’s a lot duller than it should be, and it feels even more disappointing given that her most successful work is also her most eccentric.
    • 80 Metascore
    • 75 Critic Score
    It’s a truly overwhelming amount of a somewhat good thing.
    • 80 Metascore
    • 75 Critic Score
    Because of its contemplative nature, Crawl Space functions best as a deep listen rather than a casual playlist; while pleasant, its concentrated complexity requires attention to fully appreciate Teicher’s vision.
    • 77 Metascore
    • 58 Critic Score
    They do work up some magic every now and then.
    • 85 Metascore
    • 100 Critic Score
    Pure Comedy’s scope, ambition, and beauty herald something bigger: the year’s first great album.
    • 73 Metascore
    • 75 Critic Score
    Aitchison intelligently pairs her clever lyrics against beats that push genres outward, her filling in the spaces with her hooks and gigantic personality.
    • 79 Metascore
    • 67 Critic Score
    Though More Life has its faults, Drake clearly worked hard on it. If the first thing you notice about More Life is its monolithic runtime, the second is how obvious it is that Drizzy is doing his damnedest to get your cosign.
    • 93 Metascore
    • 83 Critic Score
    For anyone who was ever remotely interested in Mount Eerie or the Microphones, A Crow Looked at Me is a must-listen. But it feels made for a very specific time and place, and the subject matter is tough to stomach and tougher to shake.
    • 82 Metascore
    • 91 Critic Score
    Hot Thoughts is another top tier indie rock record from the most consistent band in the game.
    • 76 Metascore
    • 75 Critic Score
    Real Estate remains precise and consistent, and they retain their impeccable ear for melody.
    • 73 Metascore
    • 58 Critic Score
    Despite the glorious melodies hidden within so many of these tracks, like the opening duo of “Name for You” and “Painting a Hole”, huge potential is undermined by ham-fisted executions and depths you could wade through.
    • 72 Metascore
    • 75 Critic Score
    This record’s closest counterpart is last year’s Currents from Tame Impala. Temples can’t quite reach pop solidarity like those Aussies, but they come close enough.
    • 81 Metascore
    • 83 Critic Score
    No Home of the Mind fits the bill as the best ambient record so far in 2017.