The A.V. Club's Scores

For 3,567 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 1.7 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Sunbather
Lowest review score: 0 The Great Escape Artist
Score distribution:
3,567 music reviews
    • 76 Metascore
    • 30 Critic Score
    Even [producer Dave] Fridmann's ever-clever studio work can't make Rock Action interesting.
    • 76 Metascore
    • 30 Critic Score
    This is the first time he's sounded less than vital.
    • 75 Metascore
    • 33 Critic Score
    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.
    • 75 Metascore
    • 30 Critic Score
    The few moments on Wonderland that make sense in the context of the band's history are overshadowed by a musical reach that exceeds its grasp.
    • 74 Metascore
    • 30 Critic Score
    While Discovery embraces the cheesiness of the lamest of lame music, the strategy frequently comes across as gimmickry. The album isn't so much fun as it is silly, and while Daft Punk's members may just be musical smart-alecks, funk hasn't sounded this resoundingly stupid since Bootsy Collins' squiggly solo work.
    • 72 Metascore
    • 25 Critic Score
    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.
    • 71 Metascore
    • 33 Critic Score
    Unfortunately, End Times comes off as impersonal and flat.
    • 71 Metascore
    • 33 Critic Score
    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.
    • 71 Metascore
    • 33 Critic Score
    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.
    • 70 Metascore
    • 30 Critic Score
    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.
    • 70 Metascore
    • 16 Critic Score
    Pretentious yet lunkheaded, the disc's only charm is its slick, fist-pumping arrogance.
    • 70 Metascore
    • 30 Critic Score
    The last adjective that could ever describe NdegeOcello's music is "dull," but that's just the damnation to apply to the new Comfort Woman, along with "inexplicable," "meandering," and "inexplicably meandering."
    • 70 Metascore
    • 30 Critic Score
    Mann's signature wordplay sounds clichéd and exhausted, and her melodies lack the energy and pop sparkle that distinguished her pre-Lost In Space work.
    • 69 Metascore
    • 30 Critic Score
    She mixes sloppy beat work with awkward singing that makes her songs feel like tossed-off indie pop.
    • 68 Metascore
    • 25 Critic Score
    This is easily the most flavorless fruit yet to fall from the Wolf Parade family tree.
    • 68 Metascore
    • 30 Critic Score
    The group's familiar sound returns intact, but the songs just aren't there; most of them fade into a distressing mid-tempo mush while plodding through the paces at half speed.
    • 68 Metascore
    • 30 Critic Score
    By trying to offer something for everyone, the mostly dull 10,000 Hz Legend has little to offer anyone.
    • 68 Metascore
    • 30 Critic Score
    Those who've moved beyond efforts to scare mom and dad will do well to steer clear, though they've probably made that choice already.
    • 67 Metascore
    • 30 Critic Score
    A must only for the hardest of the hardcore Pollard fans, its subtitle--Failed Experiments And Trashed Aircraft--should not be ignored. It takes 17 tracks to hit a song ("Spring Tigers," from the aborted 1992 album Back To Saturn X) that sounds like a regrettable exclusion, and the consistency doesn't pick up from there.... if nothing else, it's a fine warehouse of great song titles...
    • 67 Metascore
    • 33 Critic Score
    With Hot Cakes-the group's third album, and first since reforming last year-the laughter has died. In its place is the sad wheeze of the last surviving party balloon slowly, listlessly deflating.
    • 66 Metascore
    • 30 Critic Score
    While the continued drive to mix up its sound remains admirable, the weak spots are downright deadly, making Open feel sort of like a between-albums goof, an experiment strictly for the fan club.
    • 66 Metascore
    • 25 Critic Score
    These days, the group creates reasonable facsimiles of utter tedium.
    • 66 Metascore
    • 20 Critic Score
    This is more a marketing plan than an album.
    • 66 Metascore
    • 30 Critic Score
    A stylistic side-step that trips and falls without making much of the tumble.
    • 65 Metascore
    • 20 Critic Score
    St. Anger suffers mightily for its thin, washed-out sound.... A messy, unsatisfying misfire.
    • 64 Metascore
    • 25 Critic Score
    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.
    • 64 Metascore
    • 25 Critic Score
    Regardless of whether Reality Check is "bad" or simply bad, The Teenagers belong on the scrap heap.
    • 63 Metascore
    • 16 Critic Score
    Frustratingly, there are whiffs of worthwhile beats buried among the blandness.
    • 63 Metascore
    • 20 Critic Score
    Even lineup changes and inter-group squabbling couldn't stop the trio's commercial winning streak, but a massive shot of independence just might. Brilliantly crafted songs from some of pop music's top songwriting ringers have played a key role in Destiny's Child's success, but Survivor finds frontwoman Beyoncé Knowles taking over the reins, co-writing and co-producing nearly every track.
    • 63 Metascore
    • 30 Critic Score
    All too often finds X-Ecutioners playing second fiddle to an outsized roster of uninspired guests.