The A.V. Club's Scores

For 4,161 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 1.8 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 Black Up
Lowest review score: 0 The Beginning
Score distribution:
4161 music reviews
    • 76 Metascore
    • 67 Critic Score
    Exciting as it can be, Boys & Girls could use just a little more shakin' going on.
    • 62 Metascore
    • 67 Critic Score
    Crazy Clown Time never succumbs to the weight of its own novelty, and fits in nicely with Lynch's untidy and constantly evolving body of work.
    • 74 Metascore
    • 67 Critic Score
    While the effort breaks new ground for White Fence on the fidelity front, and adds an additional smidgen of needed consistency to Presley’s fuzz-jam fragments, it passes on the opportunity to do anything truly new.
    • 60 Metascore
    • 67 Critic Score
    At its best, Timeless has an airy, effervescent quality, a beguiling smoothness. At its worst, it sounds like a lackluster Will.I.Am solo album that just happens to have Sergio Mendes sitting in on keys.
    • 76 Metascore
    • 67 Critic Score
    It's alternately beautiful and banal.
    • 71 Metascore
    • 67 Critic Score
    The aloof, introspective outlook isn't enough to fill the void left behind, nor is it enough to save Fragrant World from sounding somewhat generic.
    • 78 Metascore
    • 67 Critic Score
    There's a distressing structural uniformity to the material on Powder Burns.
    • 67 Metascore
    • 67 Critic Score
    She’s best in the performative, superficial realm, gleefully donning and discarding personas and influences from song to song. Like any good model, Brown is more conduit than innovator, but she wears her sound well.
    • 76 Metascore
    • 67 Critic Score
    Elton John has said that The Union, his collaboration with rock/pop/R&B legend Leon Russell, is an effort to bring Russell the attention John feels he deserves- including entry to the Rock And Roll Hall Of Fame.
    • 63 Metascore
    • 67 Critic Score
    Ultimately, Isles falls somewhere between juvenile and sophisticated, which puts it comfortably in the mystifying realm of American pop.
    • 67 Metascore
    • 67 Critic Score
    Overall, 5 Seconds Of Summer puts a contemporary spin on early-’00s mainstream pop-punk by avoiding the kind of self-pity, hopelessness, and subtle misogyny that sometimes dogged that nascent scene. More importantly, Sounds Good Feels Good never condescends to the band’s core audience of young female fans.
    • 61 Metascore
    • 67 Critic Score
    While the individual tracks are uniformly impeccable in their craftsmanship and pop sense, the album as a whole never penetrates its own lacquer.
    • 78 Metascore
    • 67 Critic Score
    These bright, string-swollen re-recordings reveal how harmonically rich those Love Remains songs were under all their static-it's a marvel, in retrospect, how Krell condensed such oversized melodies into such scruffy recordings.
    • 64 Metascore
    • 67 Critic Score
    Milk Maid's songs are a little overfamiliar in their approach, relying too much on the crude clash of sunny melodies against serrated sound. But part of the reason why so many bands return to this style is that it's easy to reproduce and has a basic appeal--so catchy, so rough.
    • 72 Metascore
    • 67 Critic Score
    Live On Two Legs-feel a bit unnecessary, since diehards will have live versions of all these songs already, and diehards are the ones who buy live albums. That doesn't, of course, stop Legs from sounding pretty great.
    • 80 Metascore
    • 67 Critic Score
    Sound & Color drops some of that urgency in favor of a hefty dose of experimentation, and while the results are intriguing, the record can’t help but meander a bit.
    • 71 Metascore
    • 67 Critic Score
    Consistent, it isn't, but Sunshine Lies has moments that make 2008 sound like 1995 trying to revive 1965 all over again.
    • 72 Metascore
    • 67 Critic Score
    Unlike "War Elephant," which resembled an indie band’s stab at country, Born On Flag Day suggests a headlong dive into the canon, with little irony and varying results.
    • 68 Metascore
    • 67 Critic Score
    Believe is most appealing when Bieber either emulates his mentor Usher-on dance-R&B tracks like "Boyfriend" (which remains one of 2012's best pop singles) or the slinky deluxe-edition track "Out Of Town Girl"-or plays to his basest, and best, pop instincts, like the aforementioned Jackson-aping "Die In Your Arms" or the Diplo-assisted head-rush "Thought Of You."
    • 69 Metascore
    • 67 Critic Score
    Although Blink-182 has long since left its past as a bare-bones punk band behind, overwrought rock isn't its forte, either. Neighborhoods finds a nice balance between the two, but it could still use a little less fussiness.
    • 64 Metascore
    • 67 Critic Score
    Heidecker is working in a format where his outsized comic eccentricity isn't a defining characteristic, Starting From Nowhere understandably starts feeling strained right around the burnout ballad "Weatherman." But at least this duo shows real commitment to its bizarrely reverent soft-rock tribute, which goes just a hair beyond being straight-faced.
    • 75 Metascore
    • 67 Critic Score
    Outside of other fleet highlights ('Emasculate Me,' 'Victims Of Mass Production'), where all four members get streamlined enough to work up momentum, they often sound chunky in a way that suggests they haven’t fully integrated Marr’s lighter touch.
    • 70 Metascore
    • 67 Critic Score
    As usual, their guitar interplay is well-lubricated and dirty when appropriate, but in spite of the reheated disco tropes and skronky electronics, much of Tonight feels like it's been forged with the same stale, trademarked chorus in hand.
    • 77 Metascore
    • 67 Critic Score
    Nada Surf still occupies a murky middle ground between mainstream pop and straightforward indie-rock, resulting in modern power-pop that's ready for primetime teen dramas or Subaru commercials.
    • 70 Metascore
    • 67 Critic Score
    It's neither a trainwreck nor a masterpiece, but it stirs the senses in all the right ways.
    • 66 Metascore
    • 67 Critic Score
    Hymns is a good, but not great, album.
    • 73 Metascore
    • 67 Critic Score
    4
    The latest from a superstar evinces a difficult but rewarding maturation.
    • 69 Metascore
    • 67 Critic Score
    There's not enough conviction or charisma on the surface of Worship's dulled sandpaper to break the skin, let alone get under it.
    • 76 Metascore
    • 67 Critic Score
    Unfortunately, Hello Sadness too often mistakes gloominess for maturity.
    • 80 Metascore
    • 67 Critic Score
    The songs work best when the band sticks to the balsa-wood wall of sound formula; they get into a spot of trouble when trying something different.