The 405's Scores

  • Music
For 786 reviews, this publication has graded:
  • 64% higher than the average critic
  • 4% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 1.6 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 LP1
Lowest review score: 20 Fitz and the Tantrums
Score distribution:
  1. Negative: 8 out of 786
786 music reviews
    • 67 Metascore
    • 60 Critic Score
    This latest effort isn't comparable with the visceral exoticness that Jimmy Page began to find on Physical Graffiti, but a more focused and staunchly unified project, designed to push the conventions of improvisational rock music and provide Rhyton's competent credentials with actual substance.
    • 82 Metascore
    • 60 Critic Score
    This collection would've been much better off as a coherent release if it came on just one disc. Two discs and thirty-one tracks really is a bit testing and the songs eventually feel like they've overstayed their welcome.
    • 66 Metascore
    • 60 Critic Score
    There are hints of previously visited melodies, familiar heard-befores and usual arrangements, but perhaps what it lacks in innovative compositions and originality, it augments through euphoric beautiful moments that feel undeniably genuine.
    • 68 Metascore
    • 60 Critic Score
    The record's very nice, but swimming alongside adequacy rather than soaring for the top isn't a wonderful career move.
    • 74 Metascore
    • 60 Critic Score
    There's nothing bold or groundbreaking about Let's Wrestle but it plays to its strengths. It's almost what you expect it to be, but not quite.
    • 78 Metascore
    • 60 Critic Score
    It's a pity they remain slavishly committed to a successful template and too often Atlas feels like a memory of a memory.
    • 73 Metascore
    • 60 Critic Score
    Whilst it's certainly performed with skill and respect for the golden era of soul music, there's a sense that it's a bit too tightly controlled.
    • 70 Metascore
    • 60 Critic Score
    An uplifting and varied listening experience, if only some of the other tracks didn't have a habit of passing you by.
    • 66 Metascore
    • 60 Critic Score
    Much like funsize Snickers bars, there's a gooey joy to be found in the brevity, but especially for us this side of the Atlantic, there are bands who have improved on the formula of twee-punk/whatever you want to call it.
    • 70 Metascore
    • 60 Critic Score
    It works well enough as a snapshot of where Everett finds himself as he approaches middle age, but the overwrought agonisation on the past and infuriatingly samey instrumental choices make it a difficult record to love.
    • 80 Metascore
    • 60 Critic Score
    The album suffers from a bit of an identity crisis, it is an honest album as the name suggests but it seems Future has difficulties in being an artist who feels the need to balance his street upbringing with his skill at writing, what are essentially, hip-hop love songs.
    • 83 Metascore
    • 60 Critic Score
    Garbus' sound is still a little too vague, still in need of some real streamlining; the promise remains blindingly obvious, but the execution, for my money at least, is still missing.
    • 78 Metascore
    • 60 Critic Score
    It's encouraging that there are some clear signs of expansion on Brightly Painted One, but the question now is whether Tiny Ruins really have anywhere else to go.
    • 73 Metascore
    • 60 Critic Score
    The message behind the music is much more clichéd, and much less interesting.
    • 79 Metascore
    • 60 Critic Score
    The Moon Rang Like A Bell starts off with captivating momentum, a potential to take you on a whimsical, emotional journey. But along the way it seems to have sacrificed that sense of purity first apparent in its experimentation.
    • 80 Metascore
    • 60 Critic Score
    This is still a lovely, lovely record, on the surface at least; I'm not sure it'll stand up quite as well to heavy rotation as its predecessor.
    • 61 Metascore
    • 60 Critic Score
    Donker Mag is unashamedly synthetic in its make-up--a carefully constructed affectation of hooks, melodies and outlandish braggadocio.
    • 67 Metascore
    • 60 Critic Score
    A touch more volume on the instruments and a bit of extra distance between one man's mouth and his microphone, this might have been a blissful exercise in studied yet clamorous rock music.
    • 72 Metascore
    • 60 Critic Score
    Wysing Forest has a time and a place but unfortunately falls short of the mark that was set by Abbott's previous memorable output and the work of his peers.
    • 76 Metascore
    • 60 Critic Score
    The production on the album is very shiny and polished, but at times far too cut and paste as every chorus seems to be layered with Sia's vocals, providing a backing falsetto.
    • 75 Metascore
    • 60 Critic Score
    There's some great individual tracks here, but they need their next full-length to be less Jekyll and Hyde and more Laura Palmer and Maddy Ferguson.
    • 64 Metascore
    • 60 Critic Score
    Electric Würms as a whole: cool and weird with some great moments, but little structure or direction.
    • 71 Metascore
    • 60 Critic Score
    Junto holds few surprises and its not the strongest album to sit in their catalogue, but it is reassuring to know that the boys are still making the music they love for a global dance audience.
    • 76 Metascore
    • 60 Critic Score
    It is worth a listen but won't hang around in the memory for long, which is not what we've come to expect from a legend like this.
    • 71 Metascore
    • 60 Critic Score
    Overall, The Dew Last An Hour is a solid debut.... it's all been done before.
    • 73 Metascore
    • 60 Critic Score
    At Best Cuckold is much like the autumnal vibe it tries to project in that, like autumn, you don't mind its existence but you kind of just want to go back to that excellent summer again.
    • 60 Metascore
    • 60 Critic Score
    Unfocused in places, it only comes together as a whole in fleeting moments... but those moments are really rather lovely, so there's enough here to say that Lia Ices remains a talented artist and one to keep watch over.
    • 71 Metascore
    • 60 Critic Score
    At times it's quite boring, but at times it's very good.
    • 81 Metascore
    • 60 Critic Score
    Vessel's ambition has exceeded his abilities. By trading in his synth for sheet metal he has lost out on what caused people to stand up and take notice.
    • 68 Metascore
    • 60 Critic Score
    The standard of hook is pretty consistent for the whole album, and there's very little that could be described as filler. It's just that, considering that the whole seems like an exercise in similitude, it's not that easy to get excited about.