The A.V. Club's Scores

For 3,617 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 1.6 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 The Complete Studio Recordings
Lowest review score: 0 The Beginning
Score distribution:
3,617 music reviews
    • 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.
    • 53 Metascore
    • 33 Critic Score
    VHS's tardy follow-up, Bring On The Comets, might as well have stayed in bed.
    • 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.
    • 71 Metascore
    • 33 Critic Score
    Unfortunately, End Times comes off as impersonal and flat.
    • 37 Metascore
    • 33 Critic Score
    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.
    • 39 Metascore
    • 33 Critic Score
    Ashcroft himself is disappointingly meager. For a man with a true gift for epic pomposity, he's mostly dull here.
    • 51 Metascore
    • 33 Critic Score
    Possibly the saddest thing about Funstyle is that the seven straighter songs those experiments surround have just as little to recommend them.
    • 57 Metascore
    • 33 Critic Score
    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.
    • 55 Metascore
    • 33 Critic Score
    For the most part, Mine Is Yours is the bland sound of a band trading identity for ambition.
    • 51 Metascore
    • 33 Critic Score
    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.
    • 62 Metascore
    • 33 Critic Score
    For all the juvenilia of the songwriting, the production on In Your Dreams is an oldster's abomination, lacquering dated MOR bombast over intermittently inspired melodies that wilt on impact.
    • 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.
    • 40 Metascore
    • 30 Critic Score
    A mercifully brief running time (less than 50 minutes) and a few scattered moments of autobiographical storytelling help make Gameface marginally less disposable than its most recent predecessors.
    • 66 Metascore
    • 30 Critic Score
    A stylistic side-step that trips and falls without making much of the tumble.
    • 69 Metascore
    • 30 Critic Score
    She mixes sloppy beat work with awkward singing that makes her songs feel like tossed-off indie pop.
    • 62 Metascore
    • 30 Critic Score
    Johnston's voice rarely melds with Linkous' production, and it loses its gritty charm amid such dignified surroundings.
    • 76 Metascore
    • 30 Critic Score
    Even [producer Dave] Fridmann's ever-clever studio work can't make Rock Action interesting.
    • 62 Metascore
    • 30 Critic Score
    An album that features all of his worst tendencies and almost none of his good ones.
    • 46 Metascore
    • 30 Critic Score
    Weird Revolution sounds dated and quaint, both in its "Pepper" rehashes ("Dracula From Houston," "The Shame Of Life") and in its halfhearted attempts at caustic shock ("Shit Like That") and misfit mission statements ("The Weird Revolution").
    • 53 Metascore
    • 30 Critic Score
    The disc's 10 tracks blur into a dispiriting, middle-of-the-road mishmash of lite pop, lite country, lite rock, and lite adult-contemporary.
    • 63 Metascore
    • 30 Critic Score
    The singer spends most of Evolve dithering on elastic, airy, funk-jazz excursions that convey few opinions or emotions, not to mention hooks.
    • 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.
    • 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."
    • 54 Metascore
    • 30 Critic Score
    Maybe it worked on the stage, but taken out of context the result is a two-hour "Huh?" of an album.
    • 68 Metascore
    • 30 Critic Score
    By trying to offer something for everyone, the mostly dull 10,000 Hz Legend has little to offer anyone.
    • 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.
    • 63 Metascore
    • 30 Critic Score
    All too often finds X-Ecutioners playing second fiddle to an outsized roster of uninspired guests.
    • 56 Metascore
    • 30 Critic Score
    The occasional brush with former glory, such as "Vivid" and the title track, isn't enough to make up for the eager-to-please inadequacies of the other material.
    • 51 Metascore
    • 30 Critic Score
    Jackson has lived a bizarre train-wreck life of mystery and tragedy, but following such a lengthy absence, Invincible just reeks of desperation and aimlessness.