Rock Sound's Scores

  • Music
For 375 reviews, this publication has graded:
  • 74% higher than the average critic
  • 2% same as the average critic
  • 24% lower than the average critic
On average, this publication grades 3.8 points higher than other critics. (0-100 point scale)
Average Music review score: 75
Highest review score: 100 Eyes & Nines
Lowest review score: 20 Bright Black Heaven
Score distribution:
  1. Negative: 2 out of 375
375 music reviews
    • 65 Metascore
    • 60 Critic Score
    The Constant does what it says on the, er, CD; constantly good, but with more focus it could have been brilliant.
    • 72 Metascore
    • 60 Critic Score
    Earworms are decidedly less abundant than normal, though, sad to say.
    • 65 Metascore
    • 60 Critic Score
    Amoral proves that Violens will stand proud knowing they can give a name to their organized mess, even if they don't know what it is yet.
    • 57 Metascore
    • 60 Critic Score
    What this means is that if you find this band annoying, you'll probably hate them 10 times more after hearing Wonders Of The Younger. For the rest of us, there's no denying that 'Rhythm Of Love' and 'Killer' are guilty pleasures in the making--consider us thoroughly killed with kindness.
    • 77 Metascore
    • 60 Critic Score
    The way they put together their country-rock is rarely less than tasteful with some nice moments, like the sinuous guitar riff of 'Calamity Song'. Only on 'January Hymn', though, where they capture the stillness and melancholy of winter beautifully, do you forget to check the joinery.
    • 72 Metascore
    • 60 Critic Score
    They've not lost their ability to craft subtly alluring, idiosyncratic songs in that time.
    • 69 Metascore
    • 60 Critic Score
    For those who are not familiar with Monotonix, they're the garage rock band from Israel who are best known for their live sets [...] that leaves this forlorn album reviewer with no visuals nor an earhole full of sweat, instead just 10 songs of crude, cave-art proto-metal and a duty to tell you that actually, Monotonix have a relevance outside of the live context.
    • 78 Metascore
    • 60 Critic Score
    Their fizzy keyboards and Bob Mould-y vocals remain intact, but essentially this is conventional indie-rock.
    • 48 Metascore
    • 60 Critic Score
    Overall, it’s a decent summer barbecue soundtrack, but hardly vintage Sublime.
    • 68 Metascore
    • 60 Critic Score
    While the band set themselves up well on songs such as 'I Like Drugs' and 'Just Like Tiger Woods', the record does rely a little too much on no-brainer jokes about girls.
    • 71 Metascore
    • 60 Critic Score
    It'd be a far easier listen if it was a proper studio release.
    • 65 Metascore
    • 60 Critic Score
    Some Kind Of Hate is at its best when it doesn't take itself too seriously.
    • 63 Metascore
    • 60 Critic Score
    There are enough early anthems included to warrant picking this up, if only as a gateway to their back catalogue.
    • 59 Metascore
    • 60 Critic Score
    Expect polished fare awash with slick harmonies, clean guitars, heavy drumbeats, giant hooks and an unadulterated wall of gleaming pop.
    • 58 Metascore
    • 60 Critic Score
    Murdered Love is a perfectly enjoyable and easily digestible slice of rap-metal.
    • 74 Metascore
    • 60 Critic Score
    As a whole, Close The Distance is a touch lacking for our ears.
    • 56 Metascore
    • 60 Critic Score
    At times, the quintet deliver the solid grooves and renowned, catchy singalong choruses that have engaged their adoring fan base, but for too much of the time Ungrateful sounds a bit flat and tired.
    • 82 Metascore
    • 60 Critic Score
    It has highlights, certainly, the beautiful ‘The Vampyre Of Time And Memory’ and epic single ‘My God Is The Sun’ being cases in point, but this a largely disappointing return to record for QOTSA.
    • 67 Metascore
    • 60 Critic Score
    Furiosity is crass, it’s rowdy, and it’s totally unoriginal but in the best kind of way.
    • 60 Metascore
    • 60 Critic Score
    For an album that led the charge in early-’00s pop-punk, it’s worth a spin or two, if only for the memories it’ll bring back.
    • 68 Metascore
    • 60 Critic Score
    While this style of Appleseed Cast-esque, classic Deep Elm indie-rock can require a bit more long-term buy-in than noisier, brasher and more immediately gratifying records, the resulting pay-off is rewarding.
    • 75 Metascore
    • 60 Critic Score
    While it doesn’t quite compete with the very best their genre has produced this year, There Used To Be A Place For Us slots comfortably into the folder marked Perfectly Acceptable 2013 Pop-Punk.
    • 74 Metascore
    • 60 Critic Score
    It’s nowhere near as hot as the real prime stuff the early ’80s gave us (Poison Idea, Void, Tar Babies, that sort of thing) and still lags behind the young ‘uns who’re keeping the genre fresh and vital.
    • 61 Metascore
    • 60 Critic Score
    Reign Of Terror will filter into the middle ground of obscurity amid countless other albums from bands of a similar ilk.
    • 74 Metascore
    • 60 Critic Score
    Motionless In White’s third full-length sees them firming up the sound they settled on with last album ‘Infamous’, but with varying degrees of success.
    • 77 Metascore
    • 50 Critic Score
    Trouble is, after one listen it becomes evident that MB hardly benefit from further investigation – they’re just another hipster band who got lucky.
    • 70 Metascore
    • 50 Critic Score
    There's nothing immediately wrong with Perch Patchwork--'Living Decorations' and 'Israeli Caves' are serviceable indie rock tunes, and 'Was' is a teasingly low-key ditty--but the core of the album is eminently forgettable.
    • 62 Metascore
    • 50 Critic Score
    Suffice to say, the once-beloved Kansas City quintet are not Radiohead, and whilst they may have left their pioneering, emo-infused pop-punk behind over a decade ago, nothing quite prepares the listener for the insipid snooze-a-thon they've concocted here.
    • 67 Metascore
    • 50 Critic Score
    There's been a noticeable progression in sound over the years, but whether it's for the better is debatable. You see, Disguises is neither brilliant or dreadful.
    • 65 Metascore
    • 50 Critic Score
    Frontman Dave King's vocal approach now presents itself as one of jaded disinterest, the defiant cries replaced by a sense of wistful reminiscence.
    • 75 Metascore
    • 50 Critic Score
    This is a difficult album to love... the overriding impression is of a not entirely pleasant sugar rush.
    • 72 Metascore
    • 50 Critic Score
    Not good, not bad, just is.
    • 69 Metascore
    • 50 Critic Score
    There’s hope in bouncy standout ‘Carry The Sorrow’, but this album is okay, and not much else.
    • 76 Metascore
    • 50 Critic Score
    Unfocused and indistinct, this is an awkward transition that skews towards by-numbers radio-rock.
    • 65 Metascore
    • 40 Critic Score
    One can’t help wish for less social commentary, and more hands-in-the-air/ feet-in-the-moshpit bangers.
    • 67 Metascore
    • 40 Critic Score
    On his latest solo effort, System of a Down man, Serj Tankian, continues to stride further and further away from the sound that was once his bread and butter.
    • 51 Metascore
    • 40 Critic Score
    It is with frightful ease that one can declare 'Days Go By' as a parody of the efforts which came before.
    • 57 Metascore
    • 40 Critic Score
    Ghost B.C.’s first effort at a covers EP is another difficult, tedious listen.
    • 42 Metascore
    • 40 Critic Score
    While not quite as cack as recent efforts by Bad Brains or DYS, it still defies belief that this should ever see the light of day.
    • 67 Metascore
    • 40 Critic Score
    This is a lethargic, dull attempt at writing an album from a band that sound like they’ve forgotten how to do just that.