Pretty Much Amazing's Scores

  • Music
For 396 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 Random Access Memories
Lowest review score: 0 Xscape
Score distribution:
  1. Negative: 17 out of 396
396 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.
    • 70 Metascore
    • 58 Critic Score
    Alt-J remain impossible to put a pin in, which makes This Is All Yours almost as frustrating as it is absorbing.
    • 77 Metascore
    • 58 Critic Score
    In finding their way back to what works, it too often sounds rehashed to make it a true return to form the band has been yearning to find.
    • 80 Metascore
    • 58 Critic Score
    The density of Tetsuo & Youth just could have benefitted from even the slightest dose of levity to throw its rhetoric and messages into sharper relief.
    • 68 Metascore
    • 58 Critic Score
    At its best, Rebel Heart has an ease, and a long absent softness, qualities sorely missed since her last masterwork Music. For every godawful moment, which come and go with a sad frequency on Rebel Heart, there are glimmers of virtuosity buried within the overworked mess.
    • 67 Metascore
    • 58 Critic Score
    Discarding the albums actually awesome opener, “No Room in Frame”,--which briefly had me hoping for some tangible musical progress from the band--Kintsugi is more or less 45 minutes of boy-next-door, paint-by-number indie pop
    • 79 Metascore
    • 58 Critic Score
    The art-rock band’s third LP Infinite House combines tentative dips into R&B and soul with a firm foundation in jittery, spindly, angular NYC rock, resulting in pop songs with a deliberately nervous, ungainly, everything-but-the-kitchen-sink feel to them.
    • 81 Metascore
    • 58 Critic Score
    The album doesn’t take nearly enough risks.
    • 72 Metascore
    • 58 Critic Score
    Born Under Saturn is only intermittently gripping. Certain tracks feel heavily procedural and oddly joyless given the album’s lighthearted tone.
    • 66 Metascore
    • 58 Critic Score
    Chrissybaby Forever is the music of Owens’ heart--unfiltered and unpolished, both to its credit and its detriment.
    • 72 Metascore
    • 50 Critic Score
    Its songwriting, production, and delivery harbor no risks, and therefore the album safely passes by its listeners without leaving anything but a want for something a little more lively.
    • 59 Metascore
    • 50 Critic Score
    For an album that embraces the theme of technology, Beta Love sounds stuck in the past, belonging to an era in which the novelty of overusing the synthesizer has not yet worn off.
    • 62 Metascore
    • 50 Critic Score
    An impenetrable, overwrought, hit-and-miss product marred by ego.
    • 64 Metascore
    • 50 Critic Score
    Because The Internet is just a giant non-sequitur, a pop culture gag reel that relies a little too heavily on flippancy to ring true.
    • 66 Metascore
    • 50 Critic Score
    [Angel Haze is] disappointing, misguided, flaccid.
    • 87 Metascore
    • 50 Critic Score
    Simply put, this record has no teeth.
    • 62 Metascore
    • 50 Critic Score
    Maximo’s strength has always been in scorching post-punk anthems (“Our Velocity”, “Graffiti”) and hyper-literate melancholic balladry (“Acrobat”, “This Is What Becomes of the Broken Hearted”), which work so well when bolstered by Paul Smith’s erudite lyrics and uniquely accented delivery. They pull off the former on “My Bloody Mind” and the latter on the excellent “Leave This Island”, but elsewhere the hooks and melodies rarely match the frontman’s grasping literary pretensions.
    • 74 Metascore
    • 50 Critic Score
    For now, Little Red stands as an example of what happens when the zeitgeist leaves you behind.
    • 79 Metascore
    • 50 Critic Score
    Ultimately, The Unnatural World is a frustrating album.
    • 68 Metascore
    • 50 Critic Score
    Mastermind passes by as a single, indistinguishable blur. To the credit of Ross and his many co-producers, the experience is rarely leaden and often engaging.
    • 68 Metascore
    • 50 Critic Score
    Apocalypse Soon struggles to keeps things interesting over its modest seventeen minute run.
    • 60 Metascore
    • 50 Critic Score
    Simply put, it’s just another Kid Cudi album--a scattered collection of songs developed as a concept album, but never fitting together to form something great.
    • 68 Metascore
    • 50 Critic Score
    While Space Project ultimately feels more like a noble failure than an attempted Record Store Day cash-in, its general lack of wonderment adds little to the imaginative legacy of Carl Sagan and the Voyager Golden Record.
    • 76 Metascore
    • 50 Critic Score
    Lurching drum-machine beats, gentle piano chords, and somber string arrangements form the musical groundwork upon which Albarn sighs about the encroaching dominance of technology. If you’re the kind of person who shares this worldview, you may find Everyday Robots an often lovely demonstration of post-millennium tension. If not, the album’s monotony can fast become punishing.
    • 77 Metascore
    • 50 Critic Score
    Most of the time, Nabuma Rubberband sounds well put-together but empty, all style and no content, the kind of album that won’t offend you while you’re listening to it but which you’d be hard-pressed to remember any of once closer “Let Go” comes to an end.
    • 64 Metascore
    • 50 Critic Score
    The most optimistic light to view Only Run in is also the most condemning; it’s not so much a fully realized album as it is a promising blueprint for songs that haven’t yet been written.
    • 80 Metascore
    • 50 Critic Score
    The best offerings here are “Blind Faze” and “2 Shy”, Fleetwood-fashioned tracks that sway playfully, celebratory in their own modest way. The rest doesn’t hit hard enough, and doesn’t even really seem like it wants to.
    • 62 Metascore
    • 50 Critic Score
    A misstep, to be sure, but even more troubling is that Foxygen have distended from tight, trim retro-pop to unkempt, unfocused conceptual goo in less than two years.
    • 65 Metascore
    • 50 Critic Score
    If you never liked APTBS, odds are you’re not about to start here.
    • 69 Metascore
    • 50 Critic Score
    The issue is in direction, and the real issue is that there doesn’t seem to be any.
    • 68 Metascore
    • 50 Critic Score
    Despite its numerous shortcomings though, it’s a difficult album to completely dislike--largely because of its wistful, nostalgia-inducing melodies. But it’s impossible not to expect better from the former Oasis mastermind.
    • 75 Metascore
    • 50 Critic Score
    This is Diamandis’ break-up album in more ways than the romantic sense. She also severs ties with popular expectation, and the end result is regressive rather than revolutionary.
    • 76 Metascore
    • 50 Critic Score
    Even if we were to give ALLA’s abysmal lyrics a pass, the production doesn't help, either.... Still, Rocky can, at times, be an engaging figure that radiates charisma when he wants.
    • 63 Metascore
    • 42 Critic Score
    It’s characterised by the same confused nature that marred much of their last LP--hurtling from one style to the other but mostly falling short of what they’ve previously achieved.
    • 70 Metascore
    • 42 Critic Score
    Mechanical Bull is the sound of Kings of Leon de-fanged, de-crowned, and de-throned, further evidence of their inexorable slide towards artistic irrelevance.
    • 63 Metascore
    • 42 Critic Score
    Grab a latte and strap on your headphones, lovebirds--it’s about to get soft rock up in here.
    • 61 Metascore
    • 42 Critic Score
    Prism does have two bright moments of success when everything comes together and we get a glimpse of the better-written album that could have been. First is opener “Roar.”... Meanwhile, on the mostly lackluster Side B, there’s another empowerment anthem, “Love Me,” that’s the polar opposite of “Roar” in nearly every other way.
    • 67 Metascore
    • 42 Critic Score
    Where Fade Away really falls flat is how it lethargically, circularly insists upon the hopelessness of Consentino’s problems without elaboration. Instead, it fumbles for anecdotes that undersell what should be highly relatable emotions.
    • 66 Metascore
    • 42 Critic Score
    Have Fun With God has greatest potential as nap music on long bus rides, but is otherwise only listenable in the context of its source material.
    • 70 Metascore
    • 42 Critic Score
    Once you’ve heard one track from Waterfall (ideally “Salt Carousel”), you’ve pretty much heard them all, and while such a lack of variety might not be a nuisance to a live audience, it’s a problem when a four-song, fifteen-minute EP already feels a little stale halfway through.
    • 77 Metascore
    • 42 Critic Score
    Heard consecutively, these songs sound disappointingly like one another, and while one good belter about the pain of unrequited love is a blessing, nine in a row turns out to be real drag.
    • 61 Metascore
    • 42 Critic Score
    As much as you care and as much as you want to feel sad, you can’t be blamed if after a listen or two, all you feel is manipulated.
    • 75 Metascore
    • 42 Critic Score
    Here, as he seemingly aims for something like hard-won, grizzled wisdom, he often trips over his own lyrical ambition.
    • 67 Metascore
    • 42 Critic Score
    She needs great material and she needs star power. But this album doesn’t have great songs, and the only thing that’s changed shape more than an R&B hit in recent years is the definition of star power.
    • 62 Metascore
    • 42 Critic Score
    Smith plays it safe, joining the growing crop of British talent with big voices and little personalities. At least he sounds pleasant though.
    • 70 Metascore
    • 42 Critic Score
    The album’s 12 bloated, mostly mid-tempo tracks drone on and on, and even when they aren’t technically long they sometimes feel like they might never end because most of them fail to find a hook.
    • 70 Metascore
    • 42 Critic Score
    It starts off brilliantly, but by the end of twelve tracks, it tapers off into an incessant and increasingly underwhelming performance.
    • 65 Metascore
    • 42 Critic Score
    What’s unfortunate is that songs the group co-wrote are the weakest ones here. The exception is the aforementioned lead single, a Journey-inspired ballad that’s catchy regardless of how much my instincts demand instant dismissal. The other slower, anthemic numbers on the album are not nearly as inspired.
    • 70 Metascore
    • 42 Critic Score
    Almost thirty producers were affiliated with the album, yet the music is shockingly simple.
    • 69 Metascore
    • 42 Critic Score
    The fun here is manufactured beyond belief, sometimes for better, but more often for worse.