For 5,509 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: | You Won't Go Before You're Supposed To | |
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Lowest review score: | Unpredictable |
Score distribution:
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Positive: 2,968 out of 5509
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Mixed: 2,464 out of 5509
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Negative: 77 out of 5509
5509
music
reviews
- By Date
- By Critic Score
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- Critic Score
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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- The Guardian
- Posted Feb 9, 2024
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- Critic Score
On paper, All Life Long looks like hard work for anyone whose musical tastes don’t usually dwell on the avant garde fringes. The reality is that it requires virtually no effort on the part of the listener: you just have to let yourself succumb.- The Guardian
- Posted Feb 8, 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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relude to Ecstasy is a delight, filled with enough ideas to suggest that they’ll come up with just as many more the next time around: the Last Dinner Party’s confidence may stem less from the hype they’ve provoked than the fact they know how good they are.- The Guardian
- Posted Feb 1, 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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It makes for an album that’s too involving and engaging and powerful to count as merely more of the same: you leave the turmoil of People Who Aren’t There Anymore feeling moved, rather than jaded.- The Guardian
- Posted Jan 25, 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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[Bending Hectic is] one of the best things Yorke and Greenwood have put their names to in at least a decade. Like the rest of Wall of Eyes, it really doesn’t feel interstitial, like a placeholder until the definite article reappears. What that portends for Radiohead’s future – if anything – is arguable; the album’s quality is not.- The Guardian
- Posted Jan 22, 2024
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Halvorson’s fusions of written and spontaneous music reach an entrancing new seamlessness and seductive warmth with this terrific set.- The Guardian
- Posted Jan 19, 2024
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- Critic Score
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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So it’s dreamy and fuzzy but sharp, witty and danceable with it; varied but coherent, consistently enjoyable. It’s an album on which Kali Uchis sounds not just like an artist who is now doing exactly what she wants, but one who also knows exactly what she’s doing.- The Guardian
- Posted Jan 11, 2024
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It is a slow-burning piece that encourages us to view time in geological rather than human terms – the rapturous, otherworldly sounds that the planet might continue to make long after humanity’s extinction.- The Guardian
- Posted Jan 5, 2024
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Musically, the album isn’t dark at all. It’s overwhelmingly lovely, with classy hooks and rousing choruses.- The Guardian
- Posted Jan 4, 2024
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I Get Into Trouble is a generous and deeply emotional record that embodies what Zietsch does so well: offering the listener a window into her most vulnerable thoughts, while also holding a mirror to the social structures that have led her there. Through this album, Zietsch bears witness to both herself and the world.- The Guardian
- Posted Dec 8, 2023
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- Critic Score
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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- Critic Score
There’s a lovely intimacy and openness to songs such as When I Hold You in My Arms and while his voice has lost some of the old youthful power, it has gained in tenderness, nuance, humanity and warmth.- The Guardian
- Posted Dec 8, 2023
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- Critic Score
It may be as imperfect as Pink Friday was, but Pink Friday 2 offers more than enough supporting evidence to make the latter claims sound like anything but hollow boasts.- The Guardian
- Posted Dec 8, 2023
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- Critic Score
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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- Critic Score
It’s dense and rewarding and has more interesting things to say than the earnest but pat song titles – Live and Let Live, Love Can Heal – suggest.- The Guardian
- Posted Nov 30, 2023
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It is a remarkably exposing record that showcases Ntuli’s mastery of her instruments. Opener Sunrise (In California) sets the tone, shifting through Robert Glasper-style chord progressions, while its counterpart Sunset (In California) taps into the plaintive phrasing crafted by the father of South African piano jazz, Abdullah Ibrahim.- The Guardian
- Posted Nov 21, 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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His lyrics tend to overshadow his skills as a tunesmith or his musical eclecticism, but if you listen to the more manageable two-CD set, you’re struck by how melodically strong and varied his output sounds.- The Guardian
- Posted Nov 15, 2023
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- Critic Score
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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These dozen tracks have a pure, hymnal quality. Rather than sounding bleak or dark you can hear the healing process under way.- The Guardian
- Posted Nov 10, 2023
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- Critic Score
Listening to the album feels like witnessing a fireworks display, each song exploding to reveal intricate patterns before quickly vanishing as the next one launches.- The Guardian
- Posted Nov 3, 2023
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Bridging past and present, Sweet Justice is a breathless, intoxicating album bursting with ideas and creativity, and reveals something different and compelling with every listen.- The Guardian
- Posted Nov 3, 2023
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- Critic Score
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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Listening to Now and Then, it’s hard to see what Harrison’s objection was in purely musical terms. A moody, reflective piano ballad, it’s clearly never going to supplant Strawberry Fields Forever or A Day in the Life in the affections of Beatles fans, but it’s a better song than Free as a Bird or Real Love. And posthumously reworked as a Beatles track, it definitely packs a greater emotional punch.- The Guardian
- Posted Nov 2, 2023
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