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 1.3 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 California X
Lowest review score: 10 Sequel to the Prequel
Score distribution:
  1. Negative: 9 out of 370
370 music reviews
    • 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’.
    • 71 Metascore
    • 60 Critic Score
    Combining moments of instrumental grandeur with sections so stripped-back they verge on silence, Watson delivers the perfect summer evening soundtrack.
    • 72 Metascore
    • 60 Critic Score
    On the whole, Tender Signs struggles to get beyond the level of an immersive period piece.
    • 72 Metascore
    • 60 Critic Score
    To say Michael Kiwanuka's debut is not the most modern-sounding album would be an elephant-sized understatement.
    • 61 Metascore
    • 60 Critic Score
    Generally Moonfire is an album big on melody, heart and hooks.
    • 58 Metascore
    • 60 Critic Score
    Raw, exhilarating and completely mystifying.
    • 67 Metascore
    • 60 Critic Score
    ¡Uno! is Green Day's least ambitious record in years and a return to what they do best: short, sharp, scatterbrain pop-punk.
    • 63 Metascore
    • 60 Critic Score
    There's value in finding their [remixers] take on Nick Cave's already unique sound.
    • 73 Metascore
    • 60 Critic Score
    Mis-steps like the sticky Santana-worship on 'Hanuman' are far less palatable, but when the combinations match up, it proves exactly how impressive this band have become.
    • 68 Metascore
    • 60 Critic Score
    At times it can be a bit round-the-campfire twee, but when they’re doing something as cut-yourself-sharp as ‘Wall Paper’, it’s easy to forgive Concrete Knives for the odd moment of artistic bluntness.
    • 73 Metascore
    • 60 Critic Score
    A coy, slow burner, it doesn't kick off properly until its latter stages.
    • 79 Metascore
    • 60 Critic Score
    Be Strong is funny, innovative, uplifting and, most importantly, always fun.
    • 74 Metascore
    • 60 Critic Score
    The overall feel is of a semi-fascinating compilation album, making Tall Ships easy to appreciate but very difficult to love.
    • 59 Metascore
    • 60 Critic Score
    It’s an interesting mix of the wide-eyed and sparkly and the beachfront and nonchalant that makes for a hugely radio-friendly record that won’t dent your credibility.
    • 76 Metascore
    • 60 Critic Score
    A peculiar unwillingness to climax is something that many Shearwater records have suffered with over the years, and Animal Joy is unfortunately no exception.
    • 75 Metascore
    • 60 Critic Score
    Though the grappling guitars of 'Riot In My House' wouldn't seem out of place on an MC5 album, Blues Funeral doesn't always kick out the jams.
    • 80 Metascore
    • 60 Critic Score
    White Denim continue to teeter there.
    • 70 Metascore
    • 60 Critic Score
    This is as forceful, salacious and dangerous as they’re likely to get.
    • 75 Metascore
    • 60 Critic Score
    London Grammar’s polished take on trip-hop is quietly dramatic, sometimes beautiful and well worth a listen.
    • 72 Metascore
    • 60 Critic Score
    Far more stripped back than the Charlatans frontman's previous offerings, Oh No flits between affecting moments (the rather gorgeous 'Hours') and repetitive down-beaters ('A Case For Vinyl') that seem to go nowhere.
    • 64 Metascore
    • 60 Critic Score
    It veers wildly between the divine and the comedic, but this is positively imperious preposterousness.
    • 71 Metascore
    • 60 Critic Score
    The dreamy 'Clone' has a touch of the Cocteau Twins about it, while the title track's polished riffs are pure powerpop. Only occasional moments – the lame guitar lick on 'Breathing Under Water' being one – sound outdated, proving that when it's done well, a little nostalgia doesn't hurt.
    • 65 Metascore
    • 60 Critic Score
    Packed with shimmering riffs, synths and loops which sees the Californian mastermind diversify his much-tipped take on 'alternative 80s'.
    • 64 Metascore
    • 60 Critic Score
    Lynch showcases a grim neighbourhood that seems electrically oppressed somehow, synthesised echoes murmuring like residual radiation.
    • 74 Metascore
    • 60 Critic Score
    A strange, interesting, occasionally brilliant album.
    • 75 Metascore
    • 60 Critic Score
    An accomplished, repeatable debut.
    • 77 Metascore
    • 60 Critic Score
    When the wrecking ball stops swinging, however, there are moments of emotional weightiness ('Leader Of The Pack') and glimpses of tenderness ('End Of The Line') that give this LP a more human edge.
    • 67 Metascore
    • 60 Critic Score
    Its Yeasayer-aping can seem too familiar at times, but on the whole Young Magic's debut is a beguiling brain-burp of a listen.
    • 69 Metascore
    • 60 Critic Score
    In the end, it’s all a little too demure to really shout out loud about.
    • 60 Metascore
    • 60 Critic Score
    Against all odds, 'Some Nights' is a hoot: huge-sounding, packed with tunes and not lacking in humour.