For 5,507 reviews, this publication has graded:
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49% higher than the average critic
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3% same as the average critic
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48% lower than the average critic
On average, this publication grades 3.2 points lower than other critics.
(0-100 point scale)
Average Music review score: 70
Highest review score: | All Born Screaming | |
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Lowest review score: | Unpredictable |
Score distribution:
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Positive: 2,966 out of 5507
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Mixed: 2,464 out of 5507
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Negative: 77 out of 5507
5507
music
reviews
- By Date
- By Critic Score
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- Critic Score
There are plenty of tracks on Reasonable Woman that are so broad, so simplistic that they feel like first drafts. .... Slightly more successful is the single Fame Won’t Love You. With a breathy feature from Paris Hilton, the track deals with the hollow rewards of celebrity; it skews sophomoric, but it’s certainly more interesting than the motivational posterisms elsewhere on the album.- The Guardian
- Posted May 3, 2024
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Radical Optimism lacks a unique personality as a result – particularly compared with the vivid writing of her peers. It’s a well-made album with mass appeal and, of course, there’s no law that pop music has to be deep. But the adjective in its title certainly doesn’t belong.- The Guardian
- Posted May 2, 2024
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Self Hell doesn’t always successfully navigate the difficult terrain between pleasing a hardcore following and broadening a sound, but the band certainly aren’t standing still.- The Guardian
- Posted Apr 26, 2024
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You Should Know Me is ingratiating simply by virtue of having a full, sinewy bass line; Gutter Punch, although borrowing liberally from Billie Eilish’s Bad Guy in its second verse, is destabilising and magnetic. For the most part, though, Porij can’t help but feel warmed over.- The Guardian
- Posted Apr 26, 2024
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I’m Doing It Again Baby! takes big, bold swings. Some of them miss.- The Guardian
- Posted Apr 12, 2024
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The duo also make room for classy experimentation, adroitly merging jangly blues with languid hip-hop on Paper Crown. The gaps are filled with a series of sunny Beatlesque numbers that feel lightweight and often rather inane. It’s an all-bases approach that doesn’t feel so much like an identity crisis as a slightly underwhelming diffusion of the band’s once heady magic.- The Guardian
- Posted Apr 5, 2024
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The majority of Las Mujeres Ya No Lloran settles for gliding in one ear and out the other without leaving much impression, but without actively driving you up the wall either: the state of sublime mediocrity in which a lot of current pop chooses to operate.- The Guardian
- Posted Mar 22, 2024
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It’s rare to hear an album that scales such songwriting peaks with the spectacular one-two of Cardinal and Deeper Well before flopping back into total blah-ness. This album proves the line between sublime simplicity and vacant banality can be surprisingly thin.- The Guardian
- Posted Mar 15, 2024
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If the album were 10 tracks rather than 18 – many of which could in turn lose two minutes from their runtime – Timberlake’s musical redemption might be more of a home run. Invariably it sags.- The Guardian
- Posted Mar 14, 2024
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The music is similarly unbothered by what anyone who isn’t already onboard thinks, resting almost entirely on a push-and-pull between the sound of Gallagher and Squire’s former bands.- The Guardian
- Posted Mar 4, 2024
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As per usual, the actual music is hard to hear over the accompanying clamour, but if you strain your ears you can make out an album that’s an improvement on 2021’s Donda. It’s still uneven in a way that occasionally makes you wonder what on earth Volumes 2 and 3 of Vultures are going to sound like.- The Guardian
- Posted Feb 12, 2024
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It’s all very pleasant if familiar – not as thrilling or groundbreaking as, say, 1976’s Super Ape: Jesus Life all but mirrors Max Romeo’s reggae classic Chase the Devil (recorded with Perry’s band the Upsetters and later sampled by the Prodigy). Still, it’s hard not to be moved by the atypical and lovely Goodbye, which features piano and strings by classical composer Hugo Bechstein.- The Guardian
- Posted Feb 2, 2024
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The band’s wash of guitars and vocals tap into the renewed interest in shoegaze while also channelling Pixies/Breeders grungy pop and mournful Cure/New Order basslines; their youthful energy and production gloss gives 30-year-old sounds and styles a more contemporary reboot.- The Guardian
- Posted Jan 26, 2024
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What An Enormous Room doesn’t yet fulfil Torres’s stadium-sized promises, but form and ambition align on album highlight I Got the Fear.- The Guardian
- Posted Jan 23, 2024
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No wheels are being reinvented here but it’s another tune-filled, uplifting, solid winner.- The Guardian
- Posted Jan 12, 2024
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McRae is still fitting a lot of currently popular boxes without escaping them. There are highlights, but the overwhelming impression is of placeholder pop, filling space until something different comes along.- The Guardian
- Posted Dec 8, 2023
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There’s not nearly enough of that bullish intensity on The First Time, and far too many songs like Too Much, an A&R-by-numbers team-up with the BTS member Jung Kook and the behemoth UK drill rapper Central Cee.- The Guardian
- Posted Nov 30, 2023
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There’s no obvious storyline to Clarke’s cinematic adventure, just the same note of dread ringing throughout. But the righteous Blackleg provides an emotional hinge to this largely wordless album, setting a scab-bashing miners’ song from 19th-century Northumberland to a pitch-dark chasm of drones.- The Guardian
- Posted Nov 17, 2023
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Rockstar might have got away with the obviousness of its material if it had opted to do something interesting with it, but virtually every cover here seems to have been made as close to the original version as possible.- The Guardian
- Posted Nov 16, 2023
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The trouble with using simple riffs is that they can easily skew naive or simply dull; too often in the quieter sections, the duo opt for ponderous arpeggiated runs of notes that make their songs feel pedestrian rather than merely slow. But when they bring in groove (as on Woe), or let noise fill up the space – be it shredded or screamed – they carry the listener aloft to a hard-won clarity.- The Guardian
- Posted Nov 14, 2023
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It’s well-made, hooky – but nevertheless, Golden is an album bound to leave more agnostic listeners pondering what the fuss is about.- The Guardian
- Posted Nov 2, 2023
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Of course, there are still jokes about masturbating, having sex in a church and how to pronounce the word turpentine – but there’s an existential bent to the whole ordeal, too. As their younger selves sang in 1997: I guess this is growing up.- The Guardian
- Posted Oct 20, 2023
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This tension leaves For All the Dogs in a strange limbo: its highs are higher than many recent Drake records, and its lows are far lower.- The Guardian
- Posted Oct 9, 2023
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- The Guardian
- Posted Oct 2, 2023
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AI is poignantly used to mutate vocals and interpret composition, as opposed to the track Memories of Music, where it seems to be given freer rein to write – the result is slapstick played extremely straight. Despite such misfires, Again features some of Lopatin’s most touching music, where the disastrous and the sublime are always second-guessing each other.- The Guardian
- Posted Sep 29, 2023
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Yet despite this genre-hopping, most songs eventually end up in the same realm: that of a bland, plodding vaguely sentimental ballad boasting at least one instantly memorable hook.- The Guardian
- Posted Sep 28, 2023
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The desire to offload and flaunt her current relationship at length means Scarlet loses the snappy brevity that was Planet Her’s calling-card. After a while, you feel that points that have already been made are being reiterated, and a long album is made to seem longer still by its weird structure, a glut of slower and more abstract tracks taking up most of its second half.- The Guardian
- Posted Sep 22, 2023
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It all adds up to an oddly dissatisfying return, albeit one that suggests the Top 40 would be a lot more interesting with Diddy producing it.- The Guardian
- Posted Sep 15, 2023
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The first half of Everyone Else begins as you’d expect – heady, fast-building, glamorous – but in the latter half, Lindstrøm pulls away from crowd-pleasing into thornier territory.- The Guardian
- Posted Aug 24, 2023
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World Music Radio proves that Jon Batiste is capable of coming up with [new ideas]. They seem to arrive when he sounds most like himself: an artist with jazz background, a deep knowledge of musical history and an iconoclastic streak. It also proves he is capable of sublimating his own individuality to fit in; when it tries too hard, it simply adds to the slush pile of nondescript pop.- The Guardian
- Posted Aug 18, 2023
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