Salon.com's Scores

For 52 reviews, this publication has graded:
  • 63% higher than the average critic
  • 3% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 0.6 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 Essence
Lowest review score: 20 Pop Trash
Score distribution:
  1. Positive: 41 out of 52
  2. Negative: 5 out of 52
52 music reviews
    • 82 Metascore
    • 100 Critic Score
    It's a nervy progression, almost necessarily uneven because of the risks it takes, balancing a grace that soars toward aching perfection with an intimacy that elicits a squirmy discomfort.
    • 88 Metascore
    • 90 Critic Score
    Basement Jaxx renovates the old house and gives it enough bad attitude to match the current trends of dark drum 'n' bass and hard electro.
    • 71 Metascore
    • 90 Critic Score
    A work of exceptional songwriting, performance and production.
    • 87 Metascore
    • 90 Critic Score
    Spartan and unadorned, the naked sincerity of the record is heartbreaking.
    • 81 Metascore
    • 90 Critic Score
    Missy scores the highest marks in the qualities shared by all gifted rappers: rhymes, flow, cleverness and style.
    • 77 Metascore
    • 90 Critic Score
    They've created a score alive with alternating currents of portentous noir atmosphere, sentimentality and playfulness, one that, amazingly, evokes mid-'70s suburbia without ever seeming campy or obviously retro.
    • 72 Metascore
    • 90 Critic Score
    There's a tragic humanism in these songs that almost recalls "Dead Man Walking".... There's a rare depth beneath his subtle guitar and tired, textured voice, one that resonates beyond any little musical coterie.
    • 89 Metascore
    • 90 Critic Score
    Elegant and subtle, "Neon Golden" convincingly balances the scales of pop and glitch electronics and is the best argument yet for combining the two.
    • 87 Metascore
    • 90 Critic Score
    By taking a new path with their music the Roots succeed in both staying relevant and momentous.
    • 86 Metascore
    • 90 Critic Score
    "Transcendental Blues" is a deeply personal album steeped in pain and loneliness.
    • 79 Metascore
    • 80 Critic Score
    "Supper" is Callahan's equivalent of Dylan's "New Morning." It's the work of a competent, seasoned songwriting veteran who exudes confidence.
    • 80 Metascore
    • 80 Critic Score
    Sprawls in all directions, effortlessly spanning the gap between breezy pop and hard rock.
    • 81 Metascore
    • 80 Critic Score
    Broadcast manipulate their equipment to give the music the rangy pulse of jazz. It's electronic, but not shot full of skittering beats. The extra charge comes from the girl out front.
    • 74 Metascore
    • 80 Critic Score
    Up
    Gabriel's greatest achievement is that his technical sophistication actually encourages a fully organic and man-made sound.
    • 79 Metascore
    • 80 Critic Score
    There's more to admire on "When the Pawn ..." than mere displays of guts, but if nothing else, it's the best non-apology since Madonna's "Human Nature."
    • 80 Metascore
    • 80 Critic Score
    A difficult and rewarding thrill.
    • 73 Metascore
    • 80 Critic Score
    Smith veers from anthems to open-ended jams to downright funky ditties.... her voice is still rich with power and conviction and fresh with vigor and life.
    • 81 Metascore
    • 80 Critic Score
    Rarely, though, do artists completely strip original material of all familiarity and reconstruct them in their own sensibility the way that Cat Power has here.
    • 82 Metascore
    • 80 Critic Score
    An evocative composite of soulful melodies, with stripped-down piano and hushed guitar-and-vocal ballads.
    • 84 Metascore
    • 80 Critic Score
    Those dependable fuzz tones never get tired, so long as they're accompanied by a propulsive backbeat, maximum adrenaline and a modicum of melody, and Sweden's Hives have all of that.
    • 62 Metascore
    • 80 Critic Score
    Orbit makes these compositions so much his own that "Pieces" doesn't seem like much of a departure from Orbit's "Strange Cargo" series of solo ambient albums.... beyond the whiff of new-agey preciousness that hangs over the project, the record is beautiful and moving.
    • 79 Metascore
    • 80 Critic Score
    Despite his best intentions, it seems, Kweli's best songs on the record move away from social criticism and into more conventional hip-hop subjects.
    • 79 Metascore
    • 80 Critic Score
    It's the gurgling electronic underpinnings and distinctly cheerful '70s synth chimes that make the difference here, adding needed texture and distracting from overly rigid rhythmic structures.
    • 79 Metascore
    • 80 Critic Score
    It's the unsettling undercurrent of angst and unease with the modern world that's earning this group comparisons to the favorite art punks of the moment, Radiohead. But Clinic's songs are much less static and harshly digital, and much more groove-oriented.
    • 75 Metascore
    • 80 Critic Score
    The short album feels fully realized -- immediate and raw all at once -- just as rock ought to be.
    • 84 Metascore
    • 80 Critic Score
    On his cunningly crafted CD, the restless techno composer cleverly constructs a bridge between electronic dance music and the black Southern styles that form the basis of most American rock and pop.
    • 78 Metascore
    • 80 Critic Score
    An airtight masterpiece of rhyme-
    • 53 Metascore
    • 80 Critic Score
    It's about as close as someone can come to hearing what they sound like at Twilo without visiting the club.
    • 75 Metascore
    • 80 Critic Score
    A return to the gorgeously crisp electric pop Partridge has been writing for more than 20 years.
    • 67 Metascore
    • 80 Critic Score
    In inventing an overarching statement about modern technology, Looper has created a work that is surprisingly old-fashioned and quaint.... Though filled with pops and hisses and high-pitched squeals culled from an increasingly gadgetized world, the record remains enchantingly melodic and tuneful.
    • 74 Metascore
    • 80 Critic Score
    A haunting, majestic album, almost as good as the band's greatest record, "Cure for Pain".... as spacious and roomy as Morphine have always been, with added texture and layers.
    • 88 Metascore
    • 70 Critic Score
    Jurado's songwriting is solid, if sometimes slightly bland -- but a lack of idiosyncrasy is to be expected when an artist references such a recognizable, well-mined sound.
    • 70 Metascore
    • 70 Critic Score
    A precocious concoction of R&B, jazz and rock.
    • 77 Metascore
    • 70 Critic Score
    While early Folk Implosion albums were almost tuneless, ramshackle affairs, this latest effort builds on the crystalline pop gems found on "Dare to Be Surprised" (1997). From the sounds of it, anarchy's getting friendlier and friendlier all the time.
    • 66 Metascore
    • 70 Critic Score
    The unruly, bad-dream aftertaste of this material echoes the quartet's early records from the 1980s... Even while there isn't a single song here that holds together from beginning to end, even as the music makes only itself felt in halting jigsaw fashion... the album has a gloomy, unaccommodating tenacity that's hard to shake.
    • 61 Metascore
    • 70 Critic Score
    The songs on "Invincible Summer," nearly all of them written by lang and various partners, aren't up to the standard of those on "Drag".... But the lyrics finally don't matter much because the record holds together as a mood piece.
    • 66 Metascore
    • 70 Critic Score
    Ween is so satisfying because they're making something that's at once smarter and grosser than the competition.
    • 72 Metascore
    • 70 Critic Score
    Saturated with choruses too well designed to be written off as anything less than calculatedly brilliant.
    • 76 Metascore
    • 70 Critic Score
    Two CDs that brim with primitive optimism, as the music shuffles between naked, moody pop (Stereo) to gritty indie rock (Mono) -- like the Replacements, but with half the noise on hold.
    • 82 Metascore
    • 70 Critic Score
    A visit to desolate regions... a 60-minute, 15-song treatise on isolation, displacement and a seemingly bottomless spiritual void.
    • 79 Metascore
    • 70 Critic Score
    13
    A shitty Blur album is still better than a lot of bands' best efforts.
    • 83 Metascore
    • 60 Critic Score
    So why doesn't "I Am" quite hit the mark? Blame it on producer Bill Bottrell, best-known for his work with Sheryl Crow. Simply put, he lays it on a little too thick.
    • 76 Metascore
    • 60 Critic Score
    If the performances here reclaimed the sputtering, spastic fury of Elvis and the Attractions in their prime, it might not matter that Costello came to play without indelible melodies and jaw-dropping lyrics, but they really don't and he largely did.
    • 68 Metascore
    • 60 Critic Score
    Slow of tempo and devoid of the irony and insouciance that made Belle & Sebastian semi-famous among record store employees and their friends.
    • 72 Metascore
    • 50 Critic Score
    It's excellently crafted, grandiose and rousing, and right now, it sounds ridiculous.
    • 84 Metascore
    • 40 Critic Score
    "Nixon," Lambchop's fifth solo LP, does have its moments, some of them truly glowing. But much of the rest of the album turns toward precious self-indulgence.
    • 63 Metascore
    • 40 Critic Score
    Past Oval projects have always worked just as well as plain old "music"... "Ovalprocess," however, is about process -- and process only. The problem is, it's more interesting to talk about than to listen to.
    • 61 Metascore
    • 30 Critic Score
    Time and again she comes across as the glum, joyless, self-centered sophomore with the dog-eared copy of "The Bell Jar" in her Hello Kitty backpack.
    • 69 Metascore
    • 30 Critic Score
    Many of the songs begin promisingly, with glowing guitar figures and plaintive synthesizer cascades, but these hints of beauty get lost in a morass of feedback and ill-defined arrangements.
    • 57 Metascore
    • 20 Critic Score
    It wants a hit so bad -- wants to be so many things to so many people -- that you can feel the songs audibly buckling from all the promises it doles out.
    • 52 Metascore
    • 20 Critic Score
    A mediocre Britpop album.
    • 75 Metascore
    • 20 Critic Score
    We're unlikely to hear another platinum-selling album in 2002 that sounds as tired and thoroughly played out as the fourth offering from the troubled young Marshall Mathers.