For 2,072 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 | |
|---|---|---|
| Lowest review score: | Shatner Claus: The Christmas Album |
Score distribution:
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Positive: 1,594 out of 2072
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Mixed: 443 out of 2072
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Negative: 35 out of 2072
2072
music
reviews
- By Date
- By Critic Score
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- The New York Times
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- Critic Score
The low-fi yet meticulous arrangements only add to the sense of isolation and the poignancy of the songs. [18 Oct 2004]- The New York Times
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- Critic Score
While the album might seem to be a conceptual stunt, it finds gorgeous and startling new ways to extend Bjork's longtime mission: merging the earthy and the ethereal. [29 Aug 2004]- The New York Times
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- Critic Score
It's a collection of odds and ends, yet the music can be cathartic and it can be achingly intimate. [29 Nov 2004]- The New York Times
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- The New York Times
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- Critic Score
It's an intensely private album, full of desolation, leave-takings, recriminations and regrets. [21 Feb 2005]- The New York Times
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- Critic Score
Her most down-to-earth album in years, because Ms. Amos has decided she doesn't have to pack every impulse into every song. Sometimes, now, a simple melody and a steady groove are enough. [21 Feb 2005]- The New York Times
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- Critic Score
It is a collection of stark but sly threats and come-ons, nearly as addictive as its predecessor. [3 Mar 2005]- The New York Times
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- Critic Score
For all that the Kills owe to P. J. Harvey, they also have angles of their own. [13 Mar 2005]- The New York Times
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- Critic Score
Like many of the best indie-pop bands, this one is musically conservative. Rather than chase new forms and sounds, the members are content to perfect the mannered pop song, nodding to forebears and fellow travelers, from Prefab Sprout to the Postal Service. [30 Dec 2004]- The New York Times
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- Critic Score
The results are simultaneously crisp and disorienting, teasing with a familiarity that quickly recedes behind complex second thoughts. [21 Mar 2005]- The New York Times
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Where his previous albums have seesawed between comedy and despair, "Guero" comes closer than ever to merging them. [21 Mar 2005]- The New York Times
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- Critic Score
These are songs full of offhand aphorisms, and they can grab you from the first line. [23 May 2005]- The New York Times
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- Critic Score
This time he's back to attack mode. Nearly every song bristles and slams. [2 May 2005]- The New York Times
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- Critic Score
It's even more disjointed and unpredictable than its predecessor. [19 May 2005]- The New York Times
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- Critic Score
Annie has a breathy wisp of a voice, and her vocal range is limited; but there is charm in her deadpan delivery, and her songwriting is full of the flair for melody for which Scandinavian pop is famous. [2 May 2005]- The New York Times
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- Critic Score
"Be" is certainly a triumph, but if it isn't quite the all-time classic Common was hoping for, that's because it sounds a bit too straightforward. [25 May 2005]- The New York Times
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- Critic Score
Its seriousness never makes it earthbound. Mr. Cooder brings to it all he has learned from a career delving into odd corners of American and world music. [13 Jun 2005]- The New York Times
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- Critic Score
She's a pop songwriter above all; the songs are catchy, with melodies good enough to tempt non-Spanish speakers to sing along. [13 Jun 2005]- The New York Times
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- The New York Times
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- Critic Score
Even the most elaborate constructions come across as homemade, touched with an optimism that is by no means naïve. [10 Jul 2005]- The New York Times
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- The New York Times
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- Critic Score
No question, it's not for everyone; it's both fey and aggressive. But it's quite real. [11 Jul 2005]- The New York Times
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- Critic Score
It can suggest Suzanne Vega's studio work, Neil Young's Crazy Horse or the latter-day Wilco. [22 Aug 2005]- The New York Times
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On "Electric Blue Watermelon"... the trio makes its strongest statement about who it is and where it lives. [5 Sep 2005]- The New York Times
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Sir Paul has always been an instinctive songwriter, and he sounds as surprised by these songs as his listeners may be. [12 Sep 2005]- The New York Times
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- Critic Score
On past albums, Sigur Ros has forged songs into hermetic sanctuaries, but on "Takk..." it expands its music toward both the abstract and the corporeal. [13 Sep 2005]- The New York Times
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- Critic Score
The songs are sturdier than ever, and they possess a sneaky sort of power. [10 Oct 2005]- The New York Times
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- Critic Score
If it isn't as formally shocking as "Sung Tongs," it's still a strong record. [17 Oct 2005]- The New York Times
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- Critic Score
Pastoral doesn't quite describe it; this seems to come from some place more eco-protected than any in existence. [24 Oct 2005]- The New York Times