The A.V. Club's Scores

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For 4,544 reviews, this publication has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 1.5 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 The Life Of Pablo
Lowest review score: 0 Graffiti
Score distribution:
  1. Positive: 3,663 out of 4544
  2. Mixed: 771 out of 4544
  3. Negative: 110 out of 4544
4544 music reviews
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    • 51 Metascore
    • 33 Critic Score
    See My Friends
    Sadly, See My Friends is mostly embarrassing, pairing Davies with ill-matched partners like Billy Corgan, Jon Bon Jovi and Richie Sambora, and Metallica, who reduce "You Really Got Me" to third-rate bar-band fodder.
    • 39 Metascore
    • 33 Critic Score
    United Nations of Sound
    Ashcroft himself is disappointingly meager. For a man with a true gift for epic pomposity, he's mostly dull here.
    • 55 Metascore
    • 33 Critic Score
    Mine Is Yours
    For the most part, Mine Is Yours is the bland sound of a band trading identity for ambition.
    • 47 Metascore
    • 0 Critic Score
    The Beginning
    The Beginning's shameless hit-mongering and MOR club stance gives this set about as much oomph as Cher's Believe.
    • 70 Metascore
    • 16 Critic Score
    Danger Days: The True Lives of the Fabulous Killjoys
    Pretentious yet lunkheaded, the disc's only charm is its slick, fist-pumping arrogance.
    • 57 Metascore
    • 33 Critic Score
    Soulsville
    There's a lot to be said for Lewis' work ethic and nose-to-the-grindstone grit. What these songs need, though, isn't grunting, grueling workmanship--it's soul. And Soulsville just doesn't have it.
    • 50 Metascore
    • 25 Critic Score
    Cardiology
    Although the new album opens promisingly with Beach Boys-esque a cappella before kicking into a handful of bland yet workable pop-punk tunes, the middle backslides into watered-down dance-rock.
    • 51 Metascore
    • 33 Critic Score
    Funstyle
    Possibly the saddest thing about Funstyle is that the seven straighter songs those experiments surround have just as little to recommend them.
    • 37 Metascore
    • 33 Critic Score
    Rebirth
    Rebirth sounds like a strange dispatch from a lost ’80s in which Wayne trafficked in cheesy power chords, cornball hard-rock atmospherics, lame guitar solos for beginners, rock clichés, and Reagan-era synthesizers.
    • 63 Metascore
    • 16 Critic Score
    The Colossus
    Frustratingly, there are whiffs of worthwhile beats buried among the blandness.
    • 71 Metascore
    • 33 Critic Score
    End Times
    Unfortunately, End Times comes off as impersonal and flat.
    • 39 Metascore
    • 0 Critic Score
    Graffiti
    Musically, Graffiti is a fairly ingratiating affair: The production is clean and often lively, and Brown sings well enough. The problem is what he’s singing.
    • 43 Metascore
    • 16 Critic Score
    The Rebirth Of Venus
    The Rebirth Of Venus, his seventh full-length, offers a more direct kind of terrible.
    • 68 Metascore
    • 25 Critic Score
    Face Control
    This is easily the most flavorless fruit yet to fall from the Wolf Parade family tree.
    • 47 Metascore
    • 25 Critic Score
    Big Bad World
    This time around, it's all saccharine pop and desperate ballads.
    • 45 Metascore
    • 25 Critic Score
    T.O.S. (Terminate On Sight)
    The once-fascinating, now-tedious gangsta-rap superstar's creative losing streak continues with G-Unit's dreary new posse album Terminate On Sight.
    • 47 Metascore
    • 16 Critic Score
    One Of The Boys
    While undeniably catchy, the hyper-produced songs have a familiar radio-ready quality that becomes infuriatingly mind-numbing over time, and Perry's vocals sound like a less-soulful Kelly Clarkson at best, a drunken, spurned sorority girl at worst.
    • 64 Metascore
    • 25 Critic Score
    Weezer (Red Album)
    The blame for Weezer can't all be laid on Cuomo—his bandmates' songwriting contributions (particularly Brian Bell's Uncle Kracker stab 'Thought I Knew') are just as unforgivably soulless.
    • 71 Metascore
    • 33 Critic Score
    Re-Arrange Us
    The Mates recapture a bit of brio of 'The Re-Arranger' and 'Help Help,' but the rest of Re-Arrange Us is only useful for putting the kids to sleep.
    • 71 Metascore
    • 33 Critic Score
    Gods Of The Earth
    For all intents and purposes, The Sword's Gods Of The Earth is the exact same album as its predecessor, "Age Of Winters." That isn't a good thing.
    • 64 Metascore
    • 25 Critic Score
    Reality Check
    Regardless of whether Reality Check is "bad" or simply bad, The Teenagers belong on the scrap heap.
    • 72 Metascore
    • 25 Critic Score
    Lust Lust Lust
    It's a narrow frame of reference that The Raveonettes seem likely to stick with; hopefully, on future albums, the songs will get more memorable than this batch.
    • 51 Metascore
    • 25 Critic Score
    Simple Plan
    Think Lavigne's "Girlfriend" without the hooks, but with a discernable degree of emo introspection.
    • 53 Metascore
    • 33 Critic Score
    Bring on the Comets
    VHS's tardy follow-up, Bring On The Comets, might as well have stayed in bed.
    • 66 Metascore
    • 25 Critic Score
    Mentor Tormentor
    These days, the group creates reasonable facsimiles of utter tedium.
    • 51 Metascore
    • 25 Critic Score
    Untitled
    Untitled should make no sense to any sentient being older than 18, but that isn't ageism, it's practical marketing
    • 44 Metascore
    • 25 Critic Score
    The Weirdness
    Even at 40 minutes, this album is interminable.
    • 75 Metascore
    • 33 Critic Score
    Black Holes & Revelations
    Give Muse credit for remaking itself over the years into a full-blown theatrical experience, and not just another echoing rock band. But that experience is, frankly, kind of shitty.
    • 66 Metascore
    • 20 Critic Score
    A Time To Love
    This is more a marketing plan than an album.
    • 70 Metascore
    • 30 Critic Score
    Howl
    Howl indulges the band's heretofore-dormant interest in country, gospel, and Delta blues, in an exercise that sounds about as exercise-y as music gets.
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