For 2,071 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: 1,594 out of 2071
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Mixed: 442 out of 2071
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Negative: 35 out of 2071
2071
music
reviews
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- Critic Score
In songs suffused with need and vulnerability, the music leaves itself open, waiting to be approached.- The New York Times
- Posted May 9, 2011
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There’s good reason for both the length of the album and its occasional lavish moments. Ms. Newsom has discovered how to open up her music: to let it whisper and swell, to be swept into the purely musical pleasures of an ingenious arrangement or to let simplicity and silence speak for her.- The New York Times
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The constant is El Rego's singing, by turns rough or suave, often echoed in call and response by Ses Commandos, his steadfast band.- The New York Times
- Posted Nov 22, 2011
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“Good News” proves Megan’s prodigious talent, but it also suggests that, with a bit more digging, this gem could emit an even more prismatic shine.- The New York Times
- Posted Nov 25, 2020
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The new album presents Hval at her most approachable, with upbeat tunes and consonant sounds, both acoustic and electronic.- The New York Times
- Posted Mar 10, 2022
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The music reveled in elaborately understated analog production, full of acoustic intricacies and subtle layerings of voices and instruments, hand played yet exquisitely polished.- The New York Times
- Posted Jun 3, 2019
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The scriptural cadence and mythic gravity of Mr. Houck’s lyrics, here and elsewhere, manage not to overburden his emotional payload.- The New York Times
- Posted Mar 18, 2013
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Ms. Richard makes slow, deliberate movements; sometimes they undersell her talent, but just as often they showcase a different side of it.- The New York Times
- Posted Feb 9, 2015
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So this album--its best, and indicative of a band that can keep climbing--contains two great punk songs: 'Days of Last,' with an echoed guitar line, and 'Crooked Head,' based on a 12-beat drum rhythm.- The New York Times
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Although rhythm sections, strings, horns and overdubbed sha-la-la's do turn up, "Blinking Lights and Other Revelations" sounds most often like a man alone, coming to terms with himself and trying to muddle through. [2 May 2005]- The New York Times
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The music stays cozy, supportive and unobtrusively inventive, placing luminous details behind Mr. Tillman’s sympathetic, ever melodic voice.- The New York Times
- Posted Apr 5, 2017
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A dramatic pop-gospel record that hits extremes of the mood spectrum: very easygoing and very obsessive.- The New York Times
- Posted Aug 29, 2012
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Most of the trio's hallmarks are here: resonant lyricism, floating locomotion, a harmonic approach that brings depth to simple structures and sleekness to the more complex ones.- The New York Times
- Posted Mar 19, 2012
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“Fossora” doesn’t aim to be a crowd-pleaser. It’s hard to imagine these studio phantasms onstage (though Björk may well find a way). But Björk’s interior worlds are vast.- The New York Times
- Posted Sep 30, 2022
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She still needs every ounce of her pluck on an album with a gloss-to-grit ratio more or less congruent with mainstream country norms. But with her keenly stalwart voice, she’s the picture of self-possession, secure enough to admit to the occasional misgiving.- The New York Times
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“Multitudes” is Feist’s sixth studio album, and it embraces both delicacy and impact. It’s at once her most intimate-sounding and her most ambitious set of songs.- The New York Times
- Posted Apr 13, 2023
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Backed by ragged, loud guitar work and production that is full but not slick, Ms. Lambert sounds like a brash rabble-rouser, an emotionally insightful spark plug. [29 Apr 2007]- The New York Times
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Lil Nas X has little interest in deconstructing the conventional structures of a pop song or the traditional narrative arc of an album: He clearly wants these songs of queer yearning to be legible to the mainstream. Working mostly with the production duo Take A Daytrip — who favor melodic hooks and bright, flashy sounds — “Montero” funnels the more fluid and outré aesthetics of SoundCloud rap into familiar pop-musical shapes.- The New York Times
- Posted Sep 21, 2021
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There is nothing that is new here at all, except ambient evidence of further slow refinement.- The New York Times
- Posted Jun 27, 2011
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With All Our Reasons, there's clear potential for another sustained relationship, and a tantalizingly high bar to clear.- The New York Times
- Posted May 15, 2012
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The songs are alert to the current sound of clubs and radio, but not trapped by it; the refrains are terse and direct, but what happens between them isn’t formulaic. And while Beyoncé constructed the songs with a phalanx of collaborators, they all know better than to eclipse her creamy, soulful voice.- The New York Times
- Posted Dec 13, 2013
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It is also among his breeziest, with just a touch of nimbleness animating his reliably sleepy growl over surprisingly exuberant production.- The New York Times
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It’s a stealth band, working on the rack of riff and repetition, moving slowly toward loud, intense, orange-sky beauty.- The New York Times
- Posted Sep 3, 2014
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The sonic details of “Evermore” are radiant and meticulous; the songwriting is poised and careful. It’s an album to respect. But with all its constructions and conceits, it also keeps a certain emotional distance.- The New York Times
- Posted Dec 11, 2020
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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
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There are still the bursts of ’60s and ’80s melodies, astral synths and slashing guitars, but this record, crisp and unhesitant, leaps beyond his previous inconsistency and preciousness.- The New York Times
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The band is tinkering here, and it says something that the album still feels traceable to no other source.- The New York Times
- Posted Oct 30, 2012
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It’s a more countrified album, with the two singers, partners by marriage, often harmonizing in a rough blend. Things work best when Ms. Williams takes the lead.- The New York Times
- Posted Dec 24, 2015
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Mount Eerie’s third album, is deeply homemade and crazily dynamic, running from quiet harmonium-and-voice drones to black-metal cataclysm.- The New York Times
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The record as a whole can seem to disappear or evaporate almost as you're listening to it. But that's its charm; that's why you might want to hear it again.- The New York Times
- Posted Jan 25, 2011
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