The Boston Phoenix's Scores

  • Music
For 1,091 reviews, this publication has graded:
  • 63% higher than the average critic
  • 3% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 1.9 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 Pink
Lowest review score: 0 Last of a Dyin' Breed
Score distribution:
1,091 music reviews
    • 78 Metascore
    • 88 Critic Score
    It can be tricky to pin down Parts & Labor's busy sound - it's noise pop that's not too noisy, or maybe post-punk that's cool with cracking a fat grin - but it almost always has something entertaining going on.
    • 81 Metascore
    • 88 Critic Score
    Here's one of the few first-quarter releases of 2011 that people will still be listening to in 2012.
    • 82 Metascore
    • 88 Critic Score
    This fifth studio album is a humbly gorgeous collection, propelling an already dynamic band into even more dramatic, heart-wrenching territory.
    • 67 Metascore
    • 88 Critic Score
    Here, Dolls II make their move, surging forward while simultaneously nodding to a time that predates even that first über-influential incarnation.
    • 67 Metascore
    • 88 Critic Score
    As long as Brit keeps the ballads to a minimum and plays to her strength as a willing pop renegade (which she does here more than on any of her previous albums), she will continue to make exciting, groundbreaking modern music.
    • 78 Metascore
    • 88 Critic Score
    Bringing in Nevermind producer Butch Vig risked dangerous nostalgia, but his analog recording gives a fresh, warm feel to the proceedings.
    • 78 Metascore
    • 88 Critic Score
    In Love with Oblivion finds the band more upbeat than ever, channeling Flying Nun–era sounds with melodic riffs, handclaps, and chugging bass.
    • 76 Metascore
    • 88 Critic Score
    It's taken Isbell three albums to find his comfortable post-Truckers solo-artist groove, and on Here We Rest, he settles in quite nicely.
    • 77 Metascore
    • 88 Critic Score
    Tomboy is a tricked-out, big-budget epic built for IMAX.
    • 67 Metascore
    • 88 Critic Score
    The trio's strongest asset has always been inspired, thoughtfully crafted pop songs, which Share the Joy should finally make clear.
    • 87 Metascore
    • 88 Critic Score
    House of Balloons is a gorgeous album that pairs moody beats and samples with morbid lines about drugs and late-night encounters, all of it caulked with sex.
    • 82 Metascore
    • 88 Critic Score
    As perfect as Twilight is, though, Surtur Rising houses it handily.
    • 79 Metascore
    • 88 Critic Score
    Whether telegraphing heartbreak, world-weariness, or menacing intent (the latter especially on the Psycho-meets-Bad-Seeds nightmare of "Sooner or Later"), Badwan and Zeffira excel at heightening their musical senses simultaneously to the graces of the Heavens and the billowy depths of Hades.
    • 77 Metascore
    • 88 Critic Score
    Building levees of emotion and tearing those bitches down - Explosions in the Sky have never sounded more thrilling.
    • 80 Metascore
    • 88 Critic Score
    At times, the album draws more from drum and bass than from UK funky or any other bass music du jour.
    • 83 Metascore
    • 88 Critic Score
    Thirty-some years in, the Beasties are as sharp, hilarious, funky, and escapist as they've ever been.
    • 82 Metascore
    • 88 Critic Score
    Past Life Martyred Saints is more focused and confident than the work of many of Andersen's peers. It's likely we've not even heard her best yet. And even if not, this is pretty sweet as is.
    • 76 Metascore
    • 88 Critic Score
    Carry on, ye bearded gods.
    • 72 Metascore
    • 88 Critic Score
    For anyone bored of being bored of being bored, strap this one on and ride away.
    • 79 Metascore
    • 88 Critic Score
    Huismans has always fought the good fight in his attempt to fuse dubstep with comparably hard-nosed genres of electronic music, and Fever is his most fully realized effort yet.
    • 65 Metascore
    • 88 Critic Score
    In all, Ninth is a striking return to form.
    • 82 Metascore
    • 88 Critic Score
    This is Stevie Wonder or Yo La Tengo territory, fearlessly approaching touchy-feely domestic ground where many fear to tread. They own it, too.
    • 80 Metascore
    • 88 Critic Score
    Segall spent six months writing and recording Goodbye - his longest investment in a record yet. The time spent soaking in the classics has paid off.
    • 83 Metascore
    • 88 Critic Score
    It's difficult to decide whether Butler's thing is psychedelic thuggishness or thuggish psychedelia, and he probably doesn't intend for us to figure it out. Either way, he's done the near-impossible in creating a sound that's wholly fresh and grows richer with every listen.
    • 80 Metascore
    • 88 Critic Score
    Though the Random Axe effort is relatively high-profile, these three conjure one another's grimiest gusto.
    • 83 Metascore
    • 88 Critic Score
    For the most part, it's like a time-travel expedition back to when My Bloody Valentine ruled the land of college dorms everywhere - and pretty in pink was the way to be.
    • 61 Metascore
    • 88 Critic Score
    Although it's an imperfect effort in some regards, the somewhat conceptual OX 2010: A Street Odyssey testifies to Vast's highly developed steez, and does so with complements from MCs who effortlessly jibe with his arcane rhyme selections.
    • 70 Metascore
    • 88 Critic Score
    Within and Without is chillwave 2.0. It takes the same hazy late-night bedroom synthpop, but amps it up exponentially, with live instruments (cello, bass, violins, drums), guidance from superstar producer Ben Allen (who co-produced Animal Collective's Merriweather Post Pavilion and Deerhunter's Halcyon Digest), and more meticulously crafted songs.
    • 77 Metascore
    • 88 Critic Score
    With Room(s), Travis Stewart has somehow managed not only to wrangle in the off-the-cuff tendencies of the genre, but also create one of the more fully realized dance LPs in some time.
    • 78 Metascore
    • 88 Critic Score
    Family of Love is strong, with songs that suggest rather than demand, but nonetheless maintain Dom's glossy, candy-coated summertime sound.