For 5,494 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: | The Sky Will Still Be There Tomorrow | |
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Lowest review score: | Unpredictable |
Score distribution:
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Positive: 2,959 out of 5494
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Mixed: 2,458 out of 5494
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Negative: 77 out of 5494
5494
music
reviews
- By Date
- By Critic Score
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- Critic Score
Booka Shade's fixation with lighting up the brain's pleasure circuits is even more shameless than in the past, but from the transcendent riff of Control Me to the hand-claps and whirling synths that propel Charlotte, it is still irresistible.- The Guardian
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As with adding different herbs and spices to a favourite recipe to keep it interesting, Beach House add details that make the songs transcend formula.- The Guardian
- Posted May 11, 2018
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- The Guardian
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Only on Just Like St Teresa does the spectre of dad pop up, and on 99 Simon pulls out the kind of effortless, breezy powerpop moments that Evan Dando used to essay at will.- The Guardian
- Posted Mar 28, 2013
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- Critic Score
A relatively understated delight from a band few might have suspected capable of understatement.- The Guardian
- Posted Jan 14, 2011
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- Critic Score
Anger is still their foremost energy, but there is a much richer seam of humour than they like to let on.- The Guardian
- Posted Jul 9, 2015
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- Critic Score
There’s a naturalness and a flow in evidence, and charm, too. You can’t imagine anyone who rushed to the download sites was disappointed with what they found.- The Guardian
- Posted Mar 10, 2023
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- The Guardian
- Posted Jan 5, 2017
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That Helm had less than a year to live obviously lends his performance poignancy, but as epitaphs go, Carry Me Home isn’t really one suffused with what-might-have-been melancholy: it’s too exuberant, too vibrant for that. It sounds more like a man going out in a blaze of glory.- The Guardian
- Posted May 19, 2022
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Paul Alexander's detailed bass and McKenzie Smith's pattering drums bring definition and muscularity: The Old and the Young and the title track are bolder for it.- The Guardian
- Posted Oct 31, 2013
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There’s certainly nothing new about their sound and fury and throbbing basslines--they fit comfortably into a lineage stretching from the Cure and the Chameleons to the Killers and White Lies--but they have timeless, high-quality songs. The new ones are more direct and--potentially impacted by the death of their close friend, Frightened Rabbit’s Scott Hutchison--more impassioned.- The Guardian
- Posted Jan 18, 2019
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It's different enough to feel like a companion piece rather than a knock-off: less laboured over, more the sound of a rock band kicking back, and less alienated.- The Guardian
- Posted Dec 20, 2012
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An album that transformed Lizzo from an alternative hip-hop curio to a recognised star. But whatever the pains staked in its making, Special pulls its task off with style.- The Guardian
- Posted Jul 15, 2022
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This is a vividly youthful album, packed with acid-sharp lyrics and neon-bold choruses, playful vocal harmonies and strikingly confident pop sounds.- The Guardian
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The lyrics do, very occasionally, feel a bit phoned in--does a holy revelation really have to be such a sweet sensation?--but that’s a minor quibble about an album this purposeful and tense.- The Guardian
- Posted Mar 3, 2016
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Lyrically, Polite rarely strays far from a seducer's template, but the way in which he sells the cliche is compelling.- The Guardian
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Stuart Staples' shivering baritone is as haunting as ever on Tindersticks' ninth album.- The Guardian
- Posted Feb 16, 2012
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These are magical songs, brimming with understated but powerful hooks and the joys of loss lifted and intimacy shared.- The Guardian
- Posted May 5, 2016
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Brilliantly, some songs have the effect of Trentemøller’s electro-rockabilly with Ditto as Tarantino heroine, while elsewhere Stevie Nicks dominates, especially on the title track, which coolly updates Mac with a Balearic house beat.- The Guardian
- Posted Jun 15, 2017
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- Critic Score
Dulli wears these songs like a favourite jacket, and they gradually increase in tension and widescreen melodrama.- The Guardian
- Posted Apr 11, 2014
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- The Guardian
- Posted May 13, 2013
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Eschewing the bells, whistles and sequinned kitchen sinks of their second album, One Way Ticket, in favour of an approach that shows off their credentials as a first-rate out-and-out rock band, Hot Cakes bulges with infectious melodies, blazing leads and strident riffing, Justin Hawkins' unmistakable falsetto adding pathos and silliness in equal measure.- The Guardian
- Posted Aug 29, 2012
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Not every effect works (the gloom of I’m a Mother is too airless, the electronic pulse of Longpig too enervating), but on the whole, it’s hypnotic.- The Guardian
- Posted Sep 18, 2014
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Between Rousay’s drones and disruptions, melodics and arguments, the album becomes a place for feeling in the present, untethered by time, as familiar as a memory and as placeless as a dream.- The Guardian
- Posted Apr 26, 2022
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Yes, I'm a Witch makes a startlingly effective case for Ono's songwriting skills.- The Guardian
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- The Guardian
- Posted Dec 20, 2012
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Like Total Life Forever, Holy Fire rather tails off in its second half.... Those complaints, though, are insignificant when set against the whole: an album by a British guitar band who want to win a huge audience without writing chantalongs for the drinkers' crowd, or lowest-emotional-common-denominator piano ballads.- The Guardian
- Posted Feb 7, 2013
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The result is an album that strides confidently between garage rock (Lateral Alice), ambient (Integration Tape) and even prog (lead single Charm Assault). It’s all tidily done, and there’s barely a misstep.- The Guardian
- Posted Jun 15, 2017
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Clearly it requires something more than vocal talent and looks to escape the fate of the featured vocalist, and whatever it is, 21-year-old Kathleen Bryan appears to have it.- The Guardian
- Posted Apr 14, 2011
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It ends with Out of My Mind Just in Time, a 10-minute closer that starts as a fairly boring ballad but gradually unravels into the tripped-out weirdness on which New Amerykah Part One was founded. You could argue that's New Amerykah Part Two in a nutshell: as with Badu herself, all is gratifyingly not as it first appeared.- The Guardian
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