Pretty Much Amazing's Scores

  • Music
For 687 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 1 point higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 American Dream
Lowest review score: 0 Xscape
Score distribution:
  1. Negative: 22 out of 687
687 music reviews
    • 83 Metascore
    • 83 Critic Score
    Throughout, Showalter comes over like a visionary risk-taker with nothing to lose, not to mention like a consummate frontman.
    • 83 Metascore
    • 83 Critic Score
    Soft vocals percolate through the record, lending it a remarkable emotional profundity. Though at times the record feels a little repetitive, Zauner’s lyrical skill keeps it from being boring.
    • 83 Metascore
    • 91 Critic Score
    After Dark 2 is a confirmation of his prowess and vision. It is proof and testament that the reignited flame of Italo-disco can endure through the tempests of shifting tastes.
    • 83 Metascore
    • 67 Critic Score
    Short of their obvious opposition, there is little here in the way of meaningful tension between the Angels & Devils.
    • 83 Metascore
    • 83 Critic Score
    Need to Feel Your Love is an excellent debut, and if this record is any indication, Sheer Mag is set to continue their trend of making great music.
    • 83 Metascore
    • 83 Critic Score
    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.
    • 83 Metascore
    • 83 Critic Score
    Marissa Nadler’s limnetic new album, July, is both eerie and soothing, a lullaby written to induce nightmares.
    • 83 Metascore
    • 83 Critic Score
    Prima Donna may not stand up to the unfettered brilliance of Summertime ‘06, but it was never supposed to. Instead, it tells us just a bit about Staples’ scope as an artist.
    • 83 Metascore
    • 91 Critic Score
    Old
    One thing you should never underestimate, though, is the power of a good story, and Danny Brown has a wealth of them, which makes Old not just the best hip-hop album of the year--but a major factor in every discussion of album of the year.
    • 83 Metascore
    • 83 Critic Score
    Not dance music in any traditional sense of the world, Faith In Strangers has injected itself into a crowded conversation on originality alone.
    • 83 Metascore
    • 75 Critic Score
    In addition to nostalgia, they also use the easy weapons of doing that juxtaposition thing of pairing cheery music with sad lyrics and vocals and putting the other single (a nice climbing keyboard line in that one) wisely as what would be the opener of the second side if this were the vinyl age; spacing out the good stuff instead of front-loading the record. The other songs aren’t bad, but their pleasures are pleasant at best.
    • 83 Metascore
    • 83 Critic Score
    In the show’s context, this soundtrack is a solid A. Evocative, thrilling, and dynamic, it’s everything you could possibly want from a TV score. On its own, it’s one of the most refreshingly forward-thinking electronic releases of the year, even if the tracklist could use some cleaning up.
    • 83 Metascore
    • 83 Critic Score
    The band’s strengths are all the same, but they’ve been developed, and their focus seems to have stabilized and sharpened.
    • 83 Metascore
    • 91 Critic Score
    Is Wildflower the best album of the year? Probably not. But it was made by one of the most influential artists of our generation. Take note.
    • 83 Metascore
    • 100 Critic Score
    Rival Dealer is only three tracks long but it’s as rich as many LPs.
    • 83 Metascore
    • 83 Critic Score
    “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
    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
    The album thrums with vitality and elation.
    • 83 Metascore
    • 75 Critic Score
    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
    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
    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
    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
    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
    This album is powerful, occasionally transcendent, always honest and never less than entertaining.
    • 82 Metascore
    • 83 Critic Score
    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
    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 is a droning, incoherent endeavor, and it simply doesn’t reward the attention it’s asking for.
    • 82 Metascore
    • 83 Critic Score
    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
    ingles is sometimes stark, and sometimes surprising – but its key constant is that it’s rarely short of spellbinding.
    • 82 Metascore
    • 83 Critic Score
    It might be his best work to date. Just about everything here is good.