The New York Times' Scores

For 1,820 reviews, this publication has graded:
  • 54% higher than the average critic
  • 4% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 2.3 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 The Runners Four
Lowest review score: 10 All The Right Reasons
Score distribution:
1820 music reviews
    • 85 Metascore
    • 70 Critic Score
    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.
    • 85 Metascore
    • 70 Critic Score
    Mount Eerie’s third album, is deeply homemade and crazily dynamic, running from quiet harmonium-and-voice drones to black-metal cataclysm.
    • 84 Metascore
    • 70 Critic Score
    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.
    • 84 Metascore
    • 80 Critic Score
    On Yonder Is the Clock, the Felice Brothers loosen up, making room for absurdity as well as the travails they sing about.
    • 84 Metascore
    • 90 Critic Score
    Mental Illness wallows in its troubles, and it’s an exquisite wallow.
    • 84 Metascore
    • 80 Critic Score
    The singing and songwriting mostly split between Austin Brown and Mr. Savage, who are astute enough to write taut, smart lyrics, and self-aware enough to arch an eyebrow while maintaining the pose.
    • 84 Metascore
    • 80 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]
    • 84 Metascore
    • 70 Critic Score
    She still favors too many Wayne Shorterish chord progressions to truly suit the easily impressed. It’s precisely when she stretches--as on “Rest in Pleasure,” which has a melody you wouldn’t wish on a less acrobatic singer--that Ms. Spalding seems most ingenuous and unbound.
    • 84 Metascore
    • 50 Critic Score
    This music sounds fantastic, as usual--clean, tight and separated in the mix--but songwriting inspiration is in short supply.
    • 84 Metascore
    • 80 Critic Score
    Even after wide Internet exposure of their demos, and brief yet clamorous live sets, the album versions of the songs maintain or increase the impact. The tracks don't just rock--they detonate.
    • 84 Metascore
    • 80 Critic Score
    This time, the National utterly refuses to buttonhole listeners; the music calmly awaits attention, but amply repays it.
    • 84 Metascore
    • 70 Critic Score
    The album, a love letter to his influences, is the gentlest of Mr. Church’s releases, the one that least wears his rowdy tendencies on its sleeve.
    • 84 Metascore
    • 70 Critic Score
    The songs have the feeling of rejuvenative writing, small experiments in genre and style for artists versed in country's classic modes but who rarely get to fiddle around with them.
    • 84 Metascore
    • 80 Critic Score
    With Mr. Hadreas’s aching, androgynous voice at their center, the songs deploy cinematic orchestral arrangements, spooky electronics and instruments that can sound vividly natural or treated and surreal.
    • 84 Metascore
    • 80 Critic Score
    Tense, febrile and messy, but tuneful and cohesive at the same time. [2 May 2004]
    • 84 Metascore
    • 80 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
    • 84 Metascore
    • 70 Critic Score
    The elastic interplay of Us Five is in fact the main point of Bird Songs, which approaches its Parker-centric repertory as a springboard rather than an altar.
    • 84 Metascore
    • 70 Critic Score
    No one is expecting Mr. West to turn into a latter-day Public Enemy, making political statements as a full-time mission. He, and we, are rightly fascinated by the limelight, by the culture of consumption and by Mr. West’s endlessly contradictory reactions to all that attention. But now that he’s transfigured his music, his words await an upgrade to match.
    • 84 Metascore
    • 80 Critic Score
    He doesn’t always try to play the good guy or the heartthrob, either. The music, meanwhile, places sinuous tunes, pushy guitars and lush vocals against uneasy backdrops--seductive, but never without second thoughts.
    • 84 Metascore
    • 80 Critic Score
    The result is an indie-rock album that sounds mysterious without being diffident or difficult, without piling on the noise or retreating into whimsy.
    • 84 Metascore
    • 80 Critic Score
    The best parts of In My Mind, BJ’s strong major-label debut album, come when this young singer tasks himself with ethical responsibility.
    • 84 Metascore
    • 80 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
    • 84 Metascore
    • 80 Critic Score
    [Dan Auerbach] helped Bombino make a spacious, centered record, one that stretches to appeal to Western listeners--like the nomads, known for their circular dancing, who temporarily inhabit the fields of Bonnaroo in Manchester, Tenn., every June--without strain or clutter or hipness overload.
    • 84 Metascore
    • 80 Critic Score
    The melodies are forthright, the arrangements are hand played, and Ms. Case’s voice is open and robust, with the richness of prime Linda Ronstadt and Patsy Cline.
    • 84 Metascore
    • 80 Critic Score
    Her band’s arrangements are deliberately scrappy, but keyboards or guitars surge in whenever she needs them.... She has stripped away both sweetness and protection so that her songs grow even spookier.
    • 84 Metascore
    • 80 Critic Score
    With this album Mr. Johnson proves not only that he plays well with others (especially Ray Price, Lee Ann Womack, Willie Nelson and George Strait) but also that his cantankerous charm flows out of a sentimental continuum.
    • 84 Metascore
    • 90 Critic Score
    As a sustained effort, it represents the band’s sharpest and most satisfying work, and one of the most accomplished albums of its kind this year.
    • 84 Metascore
    • 90 Critic Score
    There's a new layer of perspective on her magnificent third album. [3 Oct 2005]
    • The New York Times
    • 84 Metascore
    • 80 Critic Score
    Rips is a feel-good gut-punch of a debut album, working a sound that dates back to the Runaways, but also can hold its own right up against current practitioners like Dum Dum Girls.
    • 84 Metascore
    • 80 Critic Score
    "Pretty Toney" doesn't match the high standard of Ghostface's first two, "Ironman" and "Supreme Clientele," but it's a strong album nonetheless, packed with dense narratives and weird conceits.