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 1.8 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 Bad as Me
Lowest review score: 0 Last of a Dyin' Breed
Score distribution:
1091 music reviews
    • 46 Metascore
    • 50 Critic Score
    The Devil's Rain is chock full of good, campy horror business.
    • 55 Metascore
    • 50 Critic Score
    This is a mixed bag.
    • 75 Metascore
    • 50 Critic Score
    For a while, it's promising: "Only If for a Night" pits Welch's soulful-and-strange vocal gymnastics against a firecracker beat and a gang of chorus chanters. But elsewhere, Ceremonials feels drained of personality.
    • 87 Metascore
    • 50 Critic Score
    Part Lies, Part Heart, Part Truth, Part Garbage fails by making the obvious choice at every turn.
    • 66 Metascore
    • 50 Critic Score
    Although only adequate run-throughs of the studio-album tracks, Stage Whispers' live performances do underscore a continuity between songs from both 5:55 and IRM that otherwise wasn't apparent. Stage Whispers' new offerings, on the other hand, are consistently interesting.
    • 64 Metascore
    • 50 Critic Score
    Though Eno is adequate, moments where he takes over the collaboration (such as on "West Bay" and "Watch a Single Swallow . . . ") are too under-nourished and ponderous to suggest that he's giving us something new.
    • 58 Metascore
    • 50 Critic Score
    This is the same ol' Korn you've loved or hated (or felt indifferently toward) since you first saw that slo-mo bullet in the "Freak on a Leash" video, except with de-tuned guitars swapped for garish, beefy synths.
    • 80 Metascore
    • 50 Critic Score
    It's a bummer that Visions ended up as a fever dream of a record: unnecessarily oblique, listlessly long (48 minutes!), and painfully shapeless.
    • 68 Metascore
    • 50 Critic Score
    A curiosity from a true talent.
    • 69 Metascore
    • 50 Critic Score
    The General Strike sticks to the same supposedly state-smashing standards that drove the previous six or so albums from these Pittsburgh-bred punks into redundancy.
    • 61 Metascore
    • 50 Critic Score
    Lissy Trullie sounds simultaneously hungry and tepid, as if Trullie wants to make a big splash, but her album lacks the conviction or vision to make it happen.
    • 62 Metascore
    • 50 Critic Score
    Their most subdued effort yet.
    • 68 Metascore
    • 50 Critic Score
    Great Lake Swimmers' sugar-sweet ditties easily drift in one ear and, unfortunately, out the other.
    • 69 Metascore
    • 50 Critic Score
    On "Cynic's New Year," Portland, Ore., indie-folk duo Horse Feathers stick so firmly to their sonic guns that it becomes tightly constricting.
    • 66 Metascore
    • 50 Critic Score
    Polished, tuneful, and utterly unmemorable.
    • 68 Metascore
    • 50 Critic Score
    Despite the raucous vibe, Diamond Rugs is flawed - scattered, unfocused, and rather long, at 14 tracks.
    • 69 Metascore
    • 50 Critic Score
    Although the Cribs are very good at what they do, the songwriting on the album just feels tired and unfocused.
    • 67 Metascore
    • 50 Critic Score
    For a while, Magic Hour - the band's fourth full-length - lives up to the promise of its hilarious, zebra-centric-2001: A Space Odyssey cover art. But the wheels fall off with "Year of Living Dangerously," a campy, aimless doodle not even rescued by its random violin solo.
    • 64 Metascore
    • 50 Critic Score
    Diver is depressingly one-note, trimming back the band's scope and muscle. For some reason, Callan Clendenin sings every line in the same tiring, vacant croon, and its charm fades with each track, as does the Garageband-style production.
    • 81 Metascore
    • 50 Critic Score
    Yes, there are some colorful, more fully realized moments toward the end, but all the mumbling and fussing it takes to get there is murder.
    • 66 Metascore
    • 50 Critic Score
    There just isn't much personality on display here: Icky Blossoms strive for in-your-face decadence, but most of the time, they sound like every other anonymous dance-pop act on the planet.
    • 67 Metascore
    • 50 Critic Score
    Steam Days is usually pretty, but it's also a snooze.
    • 78 Metascore
    • 50 Critic Score
    Sun
    Bland, quasi-political lyrics and zonked-out, dead-end textures.
    • 63 Metascore
    • 50 Critic Score
    Individually, these songs pack an emotional wallop, performed with a passion that is rare in today's indie-rock scene of disconnected cool. But taken as a giant lump, they're exhausting dead-ends: 12 straight climaxes cancel each other out - and Babel could use a little rising action.
    • 62 Metascore
    • 50 Critic Score
    And so it goes with Mogwai's A Wrenched Virile Lore: a broad range of electro producers, ambient knob-twiddlers, and singer-songwriters re-assemble the Scottish post-rock champs' most recent studio album, the excellent Hardcore Will Never Die, But You Will, mostly with shitty bonus-feature-styled results.
    • 75 Metascore
    • 50 Critic Score
    For the jaded among us, this is regressive and full of genre-contrivance.
    • 70 Metascore
    • 50 Critic Score
    The results are hit-or-miss.
    • 61 Metascore
    • 40 Critic Score
    In exploring his split psyche, T.I. forgets what made the excursion interesting to begin with: there’s good and evil in everyone, but you gotta mix the two to get a reaction.