The Fly (UK)'s Scores

  • Music
For 370 reviews, this publication has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 1.2 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 II
Lowest review score: 10 Sounds from Nowheresville
Score distribution:
  1. Negative: 9 out of 370
370 music reviews
    • 68 Metascore
    • 60 Critic Score
    The moments of clarity indicate a record that yearns for change.
    • 67 Metascore
    • 60 Critic Score
    The enjoyably fluffy, pacy tunes here match Best Coast’s debut, but the content makes you want to scream ‘Get a f***ing life and chill out!’ at the speakers.
    • 80 Metascore
    • 60 Critic Score
    White Denim continue to teeter there.
    • 76 Metascore
    • 60 Critic Score
    Samantha Crain’s debut seems inextricably tied to that spirit [of alt. country], with its simple melodic warmth trumping contemporary notions of waistcoat-wearing ‘authenticity’.
    • 60 Metascore
    • 50 Critic Score
    It's the inconsistency of Future This--particularly the band's newfound tenderness vs. Their miscalculated explosions of noise--that make it a largely baffling listen.
    • 68 Metascore
    • 50 Critic Score
    Occasionally there are garish synths nauseating enough to induce a hangover on their own, and it's only then that WHB remind you why nu-rave is a genre best forgotten.
    • 72 Metascore
    • 50 Critic Score
    For a Tarot-themed rock album made by an immortal megalomaniac, it's actually OK. Especially the loud bits.
    • 67 Metascore
    • 50 Critic Score
    A riot of dumbness, 'Hot Cakes' is predictably brash and Queen-like.
    • 69 Metascore
    • 50 Critic Score
    The suave Londoner’s debut is a deeply ridiculous affair, but something about his Cave-meets-Cohen shtick endears.
    • 80 Metascore
    • 50 Critic Score
    It is hard to care too much about something this safe.
    • 69 Metascore
    • 50 Critic Score
    Basically, you can listen to all 11 tracks of This Is... Icona Pop and have a reasonable time, or you can put I Love It on repeat, forever, and have the time of your life.
    • 73 Metascore
    • 50 Critic Score
    Shulamith picks up pretty much where that album left off, mixing elements of yacht rock, soul, hip hop and dub into a smoothly melancholic whole--but at times Leaneagh’s vocodered emoting makes you wonder if this isn’t just Dido for the blognoscenti.
    • 66 Metascore
    • 50 Critic Score
    Though Shangri La is at least entertaining, it’s without that lasting, killer incision that will guarantee longevity.
    • 70 Metascore
    • 40 Critic Score
    U&I
    It's largely uninspired and generic dance music, all industrialised dystopia and insouciant dehumanisation, making U&I an often prosaic return.
    • 59 Metascore
    • 40 Critic Score
    Form And Control is a pleasant enough offering, but there's nothing phenomenal on show here.
    • 69 Metascore
    • 40 Critic Score
    Sledgehammer riff-filled rock doesn't need to be clever, but it sure as heck needs to sound like it's driven by full-pelt, carnage-causing energy. And that's where Band Of Skulls' second effort falls short.
    • 75 Metascore
    • 40 Critic Score
    The Kasabian-ish 'Danny Come Inside', with its predatory stride, and the tautly atmospheric 'Had It Coming' are rallying gear shifts; disappointingly, the remainder of 'Milk Famous' seems to be on cruise control.
    • 68 Metascore
    • 40 Critic Score
    [An] intense, skeletal, and actually-rather-dreary debut.
    • 72 Metascore
    • 40 Critic Score
    Sadly, Siberia is lacking any genuine spark.
    • 61 Metascore
    • 40 Critic Score
    Although she retains the cool cleverness of an indie icon, this New Yorker's detached demeanour eventually ends up sounding, ahem, trullie dull.
    • 70 Metascore
    • 40 Critic Score
    At his best, Oberhofer packs emotional punches in the maniacal vocals of 'I Could Go', underscored by proggy synths, billowing flutes and a chorus that stomps around like a giant drunk toddler. Somehow, Oberhofer's melodrama makes getting dumped sound fun. If only he could keep it up over a whole album...
    • 72 Metascore
    • 40 Critic Score
    Initially it is exciting – the title track and 'Hips And Lips' pack a visceral punch – however, repeat plays reveal that 'The National Health' offers nothing particularly new.
    • 54 Metascore
    • 40 Critic Score
    A band so capable shouldn't have settled for a debut as average as this.
    • 76 Metascore
    • 40 Critic Score
    Grand and grizzling, 'Gossamer' begs for adoration, but too often leaves an uncomfortably bittersweet aftertaste.
    • 60 Metascore
    • 40 Critic Score
    The gripes of her debut album--chiefly that the quality of her songs didn't always match the strength of her voice--again prevail here.
    • 73 Metascore
    • 40 Critic Score
    Solo Piano II is an enraptured performance but, unfortunately, it's not always an engaging one.
    • 70 Metascore
    • 40 Critic Score
    Magic free and generally shapeless, TEEN have some real growing up to do.
    • 66 Metascore
    • 40 Critic Score
    Unfortunately, the result is usually a bit syrupy and mawkish.
    • 66 Metascore
    • 40 Critic Score
    When it works – as on the heartbreaking 'Together' and a barrelling 'The Magic Position' – it highlights his gifts as a songwriter, but on the dreary 'Bitten' and a seemingly endless 'Vulture' it makes you long for something simpler to mark his brilliance.
    • 70 Metascore
    • 40 Critic Score
    Surrounding himself with talent that far surpasses his own doesn't hide the weakness of many of these tracks.