For 2,073 reviews, this publication has graded:
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55% higher than the average critic
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4% same as the average critic
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41% lower than the average critic
On average, this publication grades 2.2 points lower than other critics.
(0-100 point scale)
Average Music review score: 71
Highest review score: | Live in Europe 1967: Best of the Bootleg, Vol. 1 | |
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Lowest review score: | Shatner Claus: The Christmas Album |
Score distribution:
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Positive: 1,595 out of 2073
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Mixed: 443 out of 2073
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Negative: 35 out of 2073
2073
music
reviews
- By Date
- By Critic Score
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- Critic Score
If “RoundAgain” has anything notably in common with “MoodSwing,” it is the feeling of musicians with a scary level of talent playing into the moment, with full faith that they belong within a lineage.- The New York Times
- Posted Jul 22, 2020
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The songs illuminate passion, impulsiveness, ambivalence and uncertainty, yet the structures La Havas created are lucid and poised. While matters of the heart may be out of control, her fingers and voice are impeccable.- The New York Times
- Posted Jul 21, 2020
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[Tony] Allen’s drumming propels five of the album’s nine tracks, spattering syncopated accents, quick little snare-drum rolls and hissing cymbals all around the central beat — and constantly striking sparks. ... Coldcut’s presence is ubiquitous; it was the duo that put all the scattered pieces of Keleketla! together. But the thoroughly hybridized music makes clear that in Africa, Coldcut was ready to listen above all.- The New York Times
- Posted Jul 2, 2020
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This newfound looseness and fluidity suits them. Best believe that Haim still has chops and a bar band’s encyclopedic knowledge of rock riffs, but on its third album it’s finally learned how to carry those things lightly enough to move with its own particular stride.- The New York Times
- Posted Jun 26, 2020
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Strange and exquisitely moving. ... Bridgers’s lyrical talent was evident on her 2017 debut, “Stranger in the Alps,” which had a few perfect songs but as a whole sometimes felt muted, languid and downcast. “Punisher,” though, moves along fluidly with its eyes to the vast sky. Bridgers’s arpeggiated guitar work remains quietly deft.- The New York Times
- Posted Jun 19, 2020
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Latter-day Bob Dylan is for die-hards. ... His music is adamantly old-fashioned, and he’s not aiming to ingratiate himself with anyone. But for those who have stuck with him this far, his new album, “Rough and Rowdy Ways,” is at once a summing-up and a taunt, equal parts death-haunted and cantankerous.- The New York Times
- Posted Jun 19, 2020
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The arrangements on “MTV Unplugged” are occasionally overstuffed with stately “Eleanor Rigby” strings, but I prefer them to much of the studio material, since they’re airy enough to allow the unvarnished snarl of Gallagher’s voice to come through loud and clear. ... The crowd, and the record, comes alive most when Gallagher indulges in some old Oasis classics.- The New York Times
- Posted Jun 12, 2020
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For an album as expansive and big-swinging as “Notes,” its hit rate is surprisingly high. The 1975 is still walking that tightrope of self-indulgence, but more often than not it has learned how to retain its balance.- The New York Times
- Posted May 21, 2020
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The sturdy structures of pop only go so far in Perfume Genius songs. They provide reassurance that others have found ways to capture similar feelings. But they can’t hold back the immediacy of longing, the all-consuming physical need. That’s captured in a pair of songs near the end of the album.- The New York Times
- Posted May 18, 2020
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It’s hard to imagine many of its songs being performed onstage, even before the pandemic — even as it encompasses more sonic possibilities, from the orchestral to the surreal. ... Sumney doesn’t have to explain himself in prose. His songs do it even better.- The New York Times
- Posted May 18, 2020
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Many of these songs sparkle with insight and the daring of a shape-shifting vocalist, but a handful assume too readily that maturity and seriousness are only achieved through dour restraint. Still, as she and her band proved on Paramore’s excellent 2017 record “After Laughter,” Williams was already a pro at packing complex emotions and perceptive wisdom into bright, technicolor pop-rock songs.- The New York Times
- Posted May 8, 2020
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A largely effective album-length odds-and-ends collection but not, you know, an album — may be more valuable as data than as songs.- The New York Times
- Posted May 6, 2020
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“Fetch the Bolt Cutters” is daring in a new way, scrambling and shattering the pop-song structures that once grounded her. ... I am floored by this record. I hear freedom, too. These songs make some breathtaking hairpin turns. ... It’s not just the wild craftsmanship of each song. It’s also that she’s fearless about what she’s doing: with sounds, with structures, with people’s expectations.- The New York Times
- Posted Apr 17, 2020
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It’s not the early, edgy Strokes, but what they’ve grown up into. Maybe the Strokes won’t make new friends with this album, but old friends can get closer.- The New York Times
- Posted Apr 13, 2020
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“After Hours,” his rousing fourth studio album, is laden with sparkled trauma, kaleidoscopic emotional confusion, urgent and panting physical release paired with failed-state romantic dyspepsia.- The New York Times
- Posted Apr 1, 2020
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- The New York Times
- Posted Apr 1, 2020
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Reznor and Ross revisit some of their most distinctive sonic vocabulary on the new albums. ... “Ghosts V: Together” has prettier, warmer ingredients. There are serenely elegiac piano melodies, counterpoint in plinking bell tones and choirs of sampled voices.- The New York Times
- Posted Mar 31, 2020
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Reznor and Ross revisit some of their most distinctive sonic vocabulary on the new albums. ... “Ghosts VI: Locusts” thrusts the anxiety upfront. Tracks tick and pulse with the tensest kind of minimalistic repetition, and when piano and bell tones appear, they’re usually brittle, not cozy.- The New York Times
- Posted Mar 31, 2020
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The strikingly good “YHLQMDLG” (which stands for “Yo Hago Lo Que Me Da La Gana,” translation “I Do Whatever I Want”) moves in a different direction, looking deep inside the genre’s long history and proposing that there is enough information in the past on which to build a whole worldview.- The New York Times
- Posted Mar 26, 2020
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It is part old-fashioned bluster, part flamboyant style exercise, all rowdy thrill.- The New York Times
- Posted Mar 23, 2020
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Enchanting. ... It’s liquid, fast-moving and rerouting. Into it he mixes the soul-opening honk of Albert Ayler, full of enough breath to evoke a door blowing wide open; the winding intensity of John Coltrane; and the troubled placidity of Lester Young. And somehow, he never seems to need any more volume than Young did to get his point across.- The New York Times
- Posted Mar 17, 2020
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Early James is 26, but his music has much older underpinnings, glancing back to the 1970s, the 1960s and before.- The New York Times
- Posted Mar 17, 2020
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As a whole, the strong but not particularly unruly “7” is less sure-footed than “Love Yourself: Tear,” the group’s last full-length, from 2018, and the first K-pop album to debut atop the Billboard album chart.- The New York Times
- Posted Mar 4, 2020
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Grimes doesn’t make her songs depend on the words. The nervous energy, dread, anxiety, death wish and poppy nihilism are also in the sound of her music. Throughout “Miss Anthropocene,” personal and societal disasters seem imminent.- The New York Times
- Posted Feb 19, 2020
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On “Changes,” he finally stakes his claim, honing a vocal approach that’s soothing, tender although maybe slightly tentative, a middle ground between comfort and reluctance. It is an effective album, and also a deliberately unflashy one — Bieber is consistent and confident, and also not drawing too much attention to himself.- The New York Times
- Posted Feb 14, 2020
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On “Marigold,” Pinegrove is a more temperate band than it has been, and also a crisper and less complicated one, a musical direction it had already been moving in on its last album.- The New York Times
- Posted Jan 23, 2020
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Throughout “Romance,” the pop machinery clicks cleverly and efficiently into place around Cabello’s voice. The productions tend to be sparse — spooky electronic sounds, an occasional acoustic or electric guitar, hefty but discreet drums — and even where the choruses ratchet up, Cabello’s voice often stays close and confiding.- The New York Times
- Posted Dec 12, 2019
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The album is a production tour-de-force. There are plenty of moments, even in lesser songs, when instruments merge in shimmering brilliance and voices stack up in surreal stereo fireworks.- The New York Times
- Posted Dec 12, 2019
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The music still sounds contemporary and alive. ... Every song exults in the architectural savvy of a musician who, from the drumbeat up, seemed to know exactly how he’d be jamming with himself as he built the song. ... A handful [of the previously unreleased material] — including the absolute standout, “Purple Music” — are gems; none is a dud.- The New York Times
- Posted Nov 27, 2019
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Despite the album title, religion barely figures on “Magdalene.” FKA twigs seeks a person to believe in, not a creed. In these songs, that would be vocation enough, a chance to find transcendence by giving everything. It’s the faith of so many pop songs: the glory of love.- The New York Times
- Posted Nov 7, 2019
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