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
    • 91 Metascore
    • 100 Critic Score
    Self-care has allowed Lorde to make something extraordinary and authentic, something that takes you by the hand and assures you that you can survive and thrive in the same sea of emotion.
    • 85 Metascore
    • 100 Critic Score
    The sparse musical arrangements and haunting production only serve to heighten the album’s intimacy and ultimately render it a masterpiece of reflection and introspection, destined to be played on repeat in scores of late-night, tired, and lonely rooms.
    • 86 Metascore
    • 100 Critic Score
    While Are We There can be taxing at points, by its end, you’ll be overcome by the feeling that you’ve shared in something profound.
    • 96 Metascore
    • 100 Critic Score
    To Pimp A Butterfly is a veritable feast for thought--and there are simply too many loaded couplets and unrelenting sonic fakeouts to be unpacked within the confines of a single review.
    • 88 Metascore
    • 100 Critic Score
    Art Angels is the maximalist brainchild of a prodigious talent. It’s hugely entertaining. It’s delightfully bizarre. It’s refreshingly caustic.
    • 86 Metascore
    • 100 Critic Score
    Whether by Simpson’s own design or in spite of it, A Sailor’s Guide to Earth is ahead of its time.
    • 77 Metascore
    • 100 Critic Score
    This is music that operates at full force at all times.
    • 87 Metascore
    • 100 Critic Score
    It took exuberance, painstaking detail, and wide-eyed nostalgia for Daft Punk to create Random Access Memories, their best.
    • 95 Metascore
    • 100 Critic Score
    This is the Second Coming of D’Angelo, not a close second, but a continuation of that lineage. We’ve waited fifteen years for his finest album to date.
    • 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.
    • 83 Metascore
    • 100 Critic Score
    Rival Dealer is only three tracks long but it’s as rich as many LPs.
    • 85 Metascore
    • 100 Critic Score
    Pure Comedy’s scope, ambition, and beauty herald something bigger: the year’s first great album.
    • 95 Metascore
    • 100 Critic Score
    This one is no less ambitious and rewarding than some of his previous entries.
    • 92 Metascore
    • 100 Critic Score
    It’s a rare album that sounds this warm, this easy, this melodic, this fierce, this startling, this unforgettable.
    • 84 Metascore
    • 100 Critic Score
    Nothing feels out-of-place or out-of-sync, everything clicks together in flourishes of simple brilliance.
    • 87 Metascore
    • 100 Critic Score
    This is a new My Bloody Valentine and it is excellent.
    • 90 Metascore
    • 100 Critic Score
    Haunting anecdotes make Carrie & Lowell consistently compelling and elevate the storytelling from murky religious contemplation to relatable human struggle.
    • 86 Metascore
    • 100 Critic Score
    Poison Season is a caustic, beguiling masterpiece.
    • 86 Metascore
    • 100 Critic Score
    LP1
    Twigs’ superb vocal melodies anchor LP1’s flights of experimentation. Were they to be stripped from the album’s bizarre flourishes and dropped into a commercial R&B context, they would stun nonetheless.
    • 84 Metascore
    • 100 Critic Score
    Kanye West doesn’t give the listener a second to realize the album is more a masterly response to a masterpiece than a masterpiece itself. With one sweep of the hand, West brushes away expectations. And then he sticks you squarely across the face
    • 89 Metascore
    • 100 Critic Score
    M3LL155X, whatever the hell it is, is perfect. Rarely have five songs sounded so cohesive, or made such a dramatic statement.
    • 88 Metascore
    • 100 Critic Score
    A Moon Shaped Pool is the best album we could expect from a rock outfit already into its third decade of existence, and a superb work from the last important band left in the universe.
    • 87 Metascore
    • 100 Critic Score
    Not since Kid A has an album so superb pushed away and pulled closer its audience, simultaneously and with such aplomb.
    • 81 Metascore
    • 100 Critic Score
    The vast majority of The Next Day is vibrant, even delirious, roaring with Bowie’s heaviest rockers and teeming with guitar hooks that just beg to be lovingly re-appropriated by James Murphy.
    • 81 Metascore
    • 100 Critic Score
    Their third record is their best, a meandering, wild, untamable masterpiece from a front man who refuses to stop studying and refuses to be predictable.
    • 75 Metascore
    • 100 Critic Score
    [A] near-classic, West’s Physical Graffiti, his White Album. The Life of Pablo makes the wonderful Yeezus appear minor by comparison.
    • 89 Metascore
    • 100 Critic Score
    Annie Clark stands astride St. Vincent, a colossus in total--and thrilling--command.
    • 88 Metascore
    • 100 Critic Score
    American Dream is as close to a unified artistic statement that Murphy has delivered. I’d argue it’s his first front-to-back, total triumph.
    • 86 Metascore
    • 91 Critic Score
    Once I Was an Eagle is a singular achievement: a haunting record, peopled with aural ghosts that come gradually crawling from out of the grooves.
    • 81 Metascore
    • 91 Critic Score
    It is not a return to form, because how could we expect or want it to be? It is a return to the contextually avant-garde, and for Deerhunter in 2013 that means rock n’ roll.