Resident Advisor's Scores

  • Music
For 688 reviews, this publication has graded:
  • 51% higher than the average critic
  • 4% same as the average critic
  • 45% 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 Room(s)
Lowest review score: 36 Déjà-Vu
Score distribution:
  1. Negative: 1 out of 688
688 music reviews
    • 64 Metascore
    • 60 Critic Score
    As nice and welcoming as Getting Closer is, it'll never challenge you.
    • 76 Metascore
    • 60 Critic Score
    Even with an album's worth of new material, there's something missing here; the format might be Herculean in scale, but Craig's efforts don't match up.
    • 73 Metascore
    • 60 Critic Score
    It's a wild, theatrical and, at times, bloated ride.
    • 84 Metascore
    • 60 Critic Score
    Like most Caribou albums, Our Love is a grower.
    • 80 Metascore
    • 60 Critic Score
    Magazine 13 doesn't feel like a coherent album so much as a more open-ended platform for the same thing we get on his 12-inches.
    • 69 Metascore
    • 60 Critic Score
    For sure, Animal Collective still have plenty of whimsical creativity left in them, but on Painting With they mostly color inside the lines.
    • 70 Metascore
    • 60 Critic Score
    ESTOILE NAIANT is perfectly pleasant while it’s playing, but you might not remember it so well afterwards.
    • 74 Metascore
    • 60 Critic Score
    What she's lost in subtlety she's gained in star power, off the back of two years of touring and a slow-burning hit album.
    • 77 Metascore
    • 60 Critic Score
    Food might sound pretty, but it's weaker than the sum of its parts.
    • 71 Metascore
    • 60 Critic Score
    Copeland is an accomplished collage artist adept at combining the highbrow and the trashy, but when the individual bits are laid out on their own they can seem a bit throwaway.
    • 72 Metascore
    • 60 Critic Score
    Born In The Echoes follows the duo's formula of saving the more psychedelic tracks for the end.
    • 65 Metascore
    • 60 Critic Score
    Considering the odds, it shows an animated and still vigorous trio worthy of its semi-legendary status.
    • 78 Metascore
    • 60 Critic Score
    His fans might find this fascinating. For anyone else, there are better entry points into Jonson's catalogue.
    • 58 Metascore
    • 60 Critic Score
    It's an unadventurous but pleasant effort from a talented artist who used to make everyone else look boring.
    • 75 Metascore
    • 60 Critic Score
    Coming from a producer who habitually finds new ways to dazzle, Pearson Sound is uncharacteristically average.
    • 51 Metascore
    • 60 Critic Score
    While Orbits is a tighter record, its joints are still too weak to hold it all up.
    • 69 Metascore
    • 60 Critic Score
    Brandt Brauer Frick's contribution to the series, while not a classic, is still a little treasure trove.
    • 63 Metascore
    • 60 Critic Score
    These songs still aim to elicit an emotion from you, and they're still not particularly subtle. The difference is you don't feel like it's being shoved down your throat.
    • 75 Metascore
    • 60 Critic Score
    Feel It Break feels a bit front-loaded: its second half sags a bit with more ballad-oriented material, but closes on a strong note with "The Beast."
    • 81 Metascore
    • 60 Critic Score
    It never fully sounds laid back, as if the producer is unwilling to let his sounds run as rampant or give into the funk quite like his Californian counterparts.
    • 66 Metascore
    • 60 Critic Score
    Pagan is a singular vision. There's plenty to enjoy--no individual track is a misstep. But consumed as whole, Pagan goes from sugary pop to sickly sweet, and is ultimately unsatisfying.
    • 67 Metascore
    • 60 Critic Score
    Perhaps most frustratingly, Scintilli doesn't have as much of a sense of continuum as the aforementioned trilogy--which is something that any good album should have.
    • 69 Metascore
    • 60 Critic Score
    The album is overproduced and polished to a fault, often vague and uninteresting. It's the defining characteristic of Become Alive. The individual performances are undeniably full of flavor and complexity, but put together they can overwhelm.
    • 74 Metascore
    • 60 Critic Score
    Factory Floor's aesthetic is rarely comforting, and yet their new music settles into itself as it revisits old habits.
    • 76 Metascore
    • 60 Critic Score
    The Curved Line is a pretty harmless, quirky listen, and enjoyable enough if you've got a bit of a sweet tooth.
    • 71 Metascore
    • 60 Critic Score
    The Predicting Machine sounds more like a homage to various styles, from the naive, exploratory ambient works of Radioactivity-era Kraftwerk ("Radio Channel"), to the whimsical homespun techno of label-mate Superpitcher ("Orbiter").
    • 75 Metascore
    • 60 Critic Score
    Tropics' debut album stands its ground as a promising start for an artist still figuring out exactly what he wants to say.
    • 73 Metascore
    • 60 Critic Score
    It's unclear if Elements of Light represents an evolutionary mark for the producer or a one-off exercise inspired by a summer's day in Oslo, but as an effort at minimalism, it's a modest success at best.
    • 80 Metascore
    • 60 Critic Score
    Despite its shortcomings, Howl is a fine album for those interested in analog electronics and curious what can be done with them outside of a club environment.
    • 57 Metascore
    • 60 Critic Score
    There's the occasional hint of another, more vivid album.... Elsewhere they often seem all too separate, like combatants squaring off in a strange, airless room.
    • 64 Metascore
    • 60 Critic Score
    DVA
    Though it's often lost in the overwrought emotions of Dva, her gift for sound remains even when she overshoots the mark.
    • 76 Metascore
    • 60 Critic Score
    There's a near-perfect EP buried in here somewhere, and an inventive musical personality waiting to burst out, but Moiré's debut album does a better job of showcasing his potential than realizing it.
    • 81 Metascore
    • 60 Critic Score
    So while Cold Spring is in many ways a massive leap forward for Mount Kimbie, it's also the sort of transitional album you might expect from a group with a knockout debut.
    • 81 Metascore
    • 60 Critic Score
    Movement, then, is more a proof of concept than a fully fleshed-out thought, though Herndon brings enough passion to her sound to suggest one is coming.
    • 70 Metascore
    • 60 Critic Score
    Too much of the album feels restrained, unable to truly revel in the bliss of melody.
    • 76 Metascore
    • 60 Critic Score
    Though far from the full-on dance album Yorke's DJ gigs and 50 Weapons single had presaged, Amok does feel like a collection of tracks, not songs.
    • 70 Metascore
    • 60 Critic Score
    Wraetlic has the lingering feeling of prematurity, offering snatches of brilliance too easily snuffed out by its own tendency to hide its features in the dark.
    • 84 Metascore
    • 60 Critic Score
    Homogenous and slightly predictable, Panorama Bar 05 is not Steffi at her most adventurous.
    • 70 Metascore
    • 60 Critic Score
    Starfire won't get stuck in your head for days, but you could spend weeks unpacking it and still never quite get to the bottom of it.
    • 81 Metascore
    • 60 Critic Score
    A solid diversion from two artists who we know can do better.
    • 77 Metascore
    • 60 Critic Score
    If The Phoenix is that feature film we were waiting for, it could stand an edit or two.
    • 69 Metascore
    • 60 Critic Score
    Audio, Video, Disco may not be as clever and as original as Justice think it is, but it definitely isn't as terrible as everyone else would want you to believe.
    • 66 Metascore
    • 60 Critic Score
    MST
    The fundamental problem with Mst is not that it sounds like someone else, but that these ten tracks rarely match the profound emotional gravitas of that significant other.
    • 77 Metascore
    • 60 Critic Score
    There are many occasions on Modern Worship when the surging synths sweep you along with the force of a dopamine rush, but there are a few others when you're left with a nagging sense that Hyetal could take things that little bit further.
    • 64 Metascore
    • 60 Critic Score
    Too often, Letherette is synthetic and manufactured, but in those slower, stranger moments it feels like the real deal.
    • 77 Metascore
    • 60 Critic Score
    Portraits resonates at a level of button-pushing sentimentality, but Maribou State are such deft directors of their sound, and so melodically gifted, that they still create moments of magic.
    • 80 Metascore
    • 60 Critic Score
    While McIlwain is operating within more rigid structures, another hangover from his ambient productions is that he can sometimes sound a bit directionless.
    • 73 Metascore
    • 60 Critic Score
    Love Letters is more mature, doleful and disconnected from club trends.
    • 71 Metascore
    • 60 Critic Score
    As ever, there are great songs here, underpinned by sharp, imaginative production.... The problem is that Lidell doesn't go far enough.
    • 67 Metascore
    • 60 Critic Score
    Hotel Amour doesn't cover new sonic ground.
    • 75 Metascore
    • 60 Critic Score
    The end result sounds like a shameful karaoke. Nonetheless, fans of Miss Kittin should still give Calling From The Stars a go, as it remains her most accomplished solo release to date.
    • 74 Metascore
    • 60 Critic Score
    For something as weighty as a debut album from a hotly-tipped artist, Parallel Memories feels a little too light for its own good.
    • 72 Metascore
    • 60 Critic Score
    On Turn Blue you can tell the duo remain integral and solidly at the core, new influences or not.
    • 72 Metascore
    • 60 Critic Score
    Ex
    The first new Plastikman material in over ten years was always going to carry some high expectations, and as solid as it is, this one doesn't quite match up.
    • 76 Metascore
    • 60 Critic Score
    Power Of Anonymity merely repeats the ideas first laid out on Yours & Mine, sometimes improved yet other times untouched.
    • 69 Metascore
    • 60 Critic Score
    If there is one main flaw you could attach to Rapprocher, it's how Harper sticks so slavishly to the template laid out by her dance pop mentors.
    • 68 Metascore
    • 60 Critic Score
    Clearly, Stewart's future does not lie in crossover R&B--he should drill down into his musical imagination to open up ever weirder, deeper seams.
    • 67 Metascore
    • 60 Critic Score
    The inherent structural flaws of any given remix album also plague TKOL RMX--a lack of consistency, flow or narrative.
    • 73 Metascore
    • 58 Critic Score
    Most of The Triad lacks darkness or tension, which results in a lack of depth and contrast.
    • 58 Metascore
    • 58 Critic Score
    The duo's linear arrangements could keep a dance floor chuntering along, but they make for clunky pop songs.
    • 68 Metascore
    • 58 Critic Score
    The album is a ultimately a disappointment, but it has its moments nonetheless.
    • 74 Metascore
    • 58 Critic Score
    Ultimately, Rustie's purism exposes the limitations of his style.
    • 73 Metascore
    • 58 Critic Score
    It's something more functional, familiar and safe.
    • 79 Metascore
    • 58 Critic Score
    The sheer density of his music is its most interesting quality, but also a weakness. Like the panicked crowds filling the streets in your favourite disaster movie, Stringer's tracks run in a hundred directions at once and ultimately get nowhere.
    • 75 Metascore
    • 58 Critic Score
    After working together on and off for years, this trio obviously have a special connection, but it's only apparent in fits and spurts.
    • 83 Metascore
    • 58 Critic Score
    Good pop is often pliable, its message broad or ambiguous enough for listeners to flex it to their taste. Political pop can be like this without compromising its message, but most of Hopelessness has no interest in pliability. It regards its audience as either fervent believers in Anohni's cause or a pop mass in need of blunt polemic.
    • 68 Metascore
    • 56 Critic Score
    Those few powerful moments [on Boy] are the exception rather than the norm. Their rawness is an essential element that could have lent Skilled Mechanics the sort of organic, internalized anxiety that once defined Tricky.
    • 75 Metascore
    • 56 Critic Score
    When it comes to grime producers, there are two kinds: those who simply make music and those who act as creative directors, getting involved with collaborators, arrangements and often more. Judging from the unevenness of Disaster Piece, he needs both.
    • 76 Metascore
    • 56 Critic Score
    What's most disheartening about 32 Levels is how it floats by anonymously for 37 wishy-washy minutes, which is especially hard to take from a producer whose tracks used to command your attention.
    • 79 Metascore
    • 56 Critic Score
    Where Rashad's best work was light and agile like an expert dancer, some of Taso's tracks feel like they're dragging their feet.
    • 73 Metascore
    • 56 Critic Score
    Where Mala In Cuba boiled, Mirrors barely gets to a simmer.
    • 75 Metascore
    • 56 Critic Score
    Beneath its stylish veneer, Unspell lacks substance.
    • 71 Metascore
    • 56 Critic Score
    As a whole, the music is warm and pleasant, even occasionally gorgeous, but it feels a bit bloodless.
    • 75 Metascore
    • 56 Critic Score
    Much like switching on a 24-hour news channel, No No is engrossing for the first ten minutes or so. Then the parade of lurid images continues, and sure enough, they give you a headache.
    • 75 Metascore
    • 56 Critic Score
    There's a dreamlike logic to much of Care: it's atmospheric, but it doesn't make sense.
    • 83 Metascore
    • 54 Critic Score
    Despite the name, Crooked Man's greatest fault is ultimately how straight Barratt plays it.
    • 69 Metascore
    • 54 Critic Score
    Where Bad Vibes had a dynamic range of feeling, Dark Red is melodramatic to the point of being alienating.
    • 63 Metascore
    • 54 Critic Score
    Runddans is an intriguing and sometimes fun experiment, but it's not quite a meeting of great musical minds.
    • 87 Metascore
    • 52 Critic Score
    What we're left with is an uneven album that's rarely as profound or as meaningful as it tries to be.
    • 73 Metascore
    • 52 Critic Score
    Caracal has the effect of a magician performing a trick twice in a row, rendering once clandestine, miraculous movements suddenly obvious, over-rehearsed and unnatural.
    • 64 Metascore
    • 50 Critic Score
    Even though Brighter falls short, in this context it does illustrates that the indie WhoMadeWho infuse their dance with has more funk and attitude than most.
    • 62 Metascore
    • 50 Critic Score
    Listening to Imagin is like pulling on a old pair of trainers: comfortable, familiar and, ultimately, rather boring.
    • 71 Metascore
    • 50 Critic Score
    A somewhat stunted, companion piece to their debut, all the more frustrating for their lack of real development.
    • 72 Metascore
    • 50 Critic Score
    Ghettoville doesn't sound like the work of a producer who's no longer able to make wondrous music; there's enough craft and intention here to suggest that, for whatever reason, he just didn't this time.
    • 68 Metascore
    • 50 Critic Score
    There's an excellent 12-inch (or two) hidden in Addison Groove Presents James Grieve.
    • 74 Metascore
    • 50 Critic Score
    Ultimately, Reachy Prints is a bravura performance that lacks bite.
    • 73 Metascore
    • 50 Critic Score
    Brute's most interesting flourishes are all surface-level. Take them away and you're left with Al Qadiri reusing the same musical ideas.
    • 70 Metascore
    • 50 Critic Score
    The reason that the DJ-Kicks series has remained relevant is that even at its so-called worst, it was still saying something about the overall state of electronic dance music. With Gold Panda's entry-despite its cleverness and state-of-the-art, diverse penchants-you're left with the impression the famous !K7 cycle has nothing more this time than a muted episode on its hands.
    • 65 Metascore
    • 50 Critic Score
    Glow dumbs down Niemerski's music into mass market-ready chunks.
    • 71 Metascore
    • 50 Critic Score
    The album certainly isn't a waste of time, but most disappointing is that it lacks an intensity and message.
    • 78 Metascore
    • 50 Critic Score
    Rundell and Goddard are still crafting warm, well-balanced tracks, but the parts that reveal their personalities—namely the lyrics--are often awkward and strangely didactic.
    • 72 Metascore
    • 50 Critic Score
    Stones and Woods is a frustrating body of work, with good ideas poorly realised and arresting moments interrupted by annoying ones.
    • 68 Metascore
    • 50 Critic Score
    As you unspool slowly into Aimlessness, you can't help but wish for a more mediating human touch.
    • 78 Metascore
    • 50 Critic Score
    Gately describes her method as a question: "How much can I add before it just sounds too crazy. What's the most obnoxious thing I can make the song do?" With Color, she's overshot.
    • 73 Metascore
    • 50 Critic Score
    Without its academic trappings, Projections starts to grate, with its middle-of-the-road niceness and mood of tepid celebration. With them, it's borderline offensive.
    • 66 Metascore
    • 50 Critic Score
    The whole album sounds like it was mastered from a chewed-up old C90--it's post-chillwave music, busy and glitchy, but as relaxing as a soak in a warm bath.
    • 70 Metascore
    • 50 Critic Score
    Caramel is a collection of half-finished songs that force you to fill in the blanks. It's just as frustrating and occasionally enlightening as that sounds.
    • 71 Metascore
    • 50 Critic Score
    Wonder Where We Land pads its vocal tracks with plush instrumentals, morsels of melody that would have been strong points if they weren't so half-baked.
    • 78 Metascore
    • 50 Critic Score
    A collection of big, bouncy and immaculately produced club tunes, it brings together some fine productions. But it's also a tough record to love.