The New York Times' Scores

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For 2,072 reviews, this publication has graded:
  • 55% higher than the average critic
  • 4% same as the average critic
  • 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: 100 Live in Europe 1967: Best of the Bootleg, Vol. 1
Lowest review score: 0 Shatner Claus: The Christmas Album
Score distribution:
  1. Positive: 1,594 out of 2072
  2. Mixed: 443 out of 2072
  3. Negative: 35 out of 2072
2072 music reviews
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    • 81 Metascore
    • 100 Critic Score
    Get Behind Me Satan
    It's an album so strong and so unexpected that it may change the way people hear all its predecessors. And that's just a start. Listen long enough, and this album might change the way you hear lots of other bands, too.
    • The New York Times
    • 76 Metascore
    • 100 Critic Score
    The Runners Four
    It is something most indie-rock bands take a long time to achieve, if ever: a heavy footfall, a no-half-stepping opus, a defining statement. [9 Oct 2005]
    • The New York Times
    • 82 Metascore
    • 100 Critic Score
    Whatever People Say I Am, That's What I'm Not
    You probably won't hear a better CD all year long. [30 Jan 2006]
    • 99 Metascore
    • 100 Critic Score
    Live in Europe 1967: Best of the Bootleg, Vol. 1
    It captures Davis's finest working band at its apogee, straining at the limits of post-bop refinement.
    • 83 Metascore
    • 100 Critic Score
    Clarity
    The outstanding “Clarity” is her first full-length album, full of songs that are stitched so tightly and varnished so brightly that they cease to be mere pastiche and transcend into something utterly new.
    • 100 Metascore
    • 100 Critic Score
    1999 [Super Deluxe Edition]
    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.
    • 98 Metascore
    • 100 Critic Score
    Fetch the Bolt Cutters
    “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.
    • 95 Metascore
    • 100 Critic Score
    Wildflowers & All The Rest
    One of the geeky joys of “Wildflowers and All the Rest” is observing Petty at the absolute peak of his songwriting powers, making small, intelligent tweaks to these songs in progress. Sometimes it’s a single world, a few letters. ... The deep despair is there, too, in the rich soil of these songs. But what makes it bearable, and makes the record so timelessly listenable, is everything else that’s mixed in: humor, wisdom, a little randiness and a palpable sense of hope.
    • 79 Metascore
    • 100 Critic Score
    Hellfire
    Humanity isn’t exactly humane in the songs on “Hellfire,” the caustic, exhilarating third album — a masterpiece — by the English band black midi. Each song on “Hellfire” is a whirlwind of virtuosity and structure, an idiom-hopping decathlon of meter shifts, barbed harmonies and arrangements that can veer anywhere at any moment.
    • 91 Metascore
    • 100 Critic Score
    Renaissance
    Beyoncé’s singing here transcends any price tag. The range of her voice nears the galactic; the imagination powering it qualifies as cinema. ... Its sense of adventure is off the genre’s map, yet very much aware of every coordinate. It’s an achievement of synthesis that never sounds slavish or synthetic. These songs are testing this music, celebrating how capacious it is, how pliable.
    • 83 Metascore
    • 90 Critic Score
    Good News For People Who Love Bad News
    The best Modest Mouse album yet.
    • 87 Metascore
    • 90 Critic Score
    College Dropout
    2004's first great hip-hop album. [9 Feb 2004]
    • 83 Metascore
    • 90 Critic Score
    The Sunset Tree
    It may be Mr. Darnielle's best album so far (which is saying a lot) and his most straightforwardly autobiographical (which isn't saying much). [25 Apr 2005]
    • The New York Times
    • 86 Metascore
    • 90 Critic Score
    Black Sheep Boy
    What's most exciting about ''Black Sheep Boy'' is that Okkervil River sounds more than ever like a band. [9 Apr 2005]
    • The New York Times
    • 84 Metascore
    • 90 Critic Score
    Extraordinary Machine
    There's a new layer of perspective on her magnificent third album. [3 Oct 2005]
    • The New York Times
    • 83 Metascore
    • 90 Critic Score
    You Could Have It So Much Better
    Far more than a sequel. [3 Oct 2005]
    • The New York Times
    • 69 Metascore
    • 90 Critic Score
    Throw Down Your Arms
    An imposing act of pop interpretation. [3 Oct 2005]
    • The New York Times
    • 89 Metascore
    • 90 Critic Score
    Wearemonster
    Gorgeous... One of the year's best electronic albums. [29 May 2005]
    • The New York Times
    • 82 Metascore
    • 90 Critic Score
    Rather Ripped
    It is a fully legitimate, clear and strong rock 'n' roll record in the band's own style. And it may really be the best one.
    • 88 Metascore
    • 90 Critic Score
    Return To Cookie Mountain
    It’s more experimental yet catchier, more introspective yet more assertive, by turns gloomier and funnier, and above all richer in both sound and implication. “Return to Cookie Mountain” is simply one of this year’s best albums.
    • 79 Metascore
    • 90 Critic Score
    White Bread Black Beer
    [His] best work in 20 years. [25 Jul 2006]
    • The New York Times
    • 84 Metascore
    • 90 Critic Score
    The Crane Wife
    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.
    • 79 Metascore
    • 90 Critic Score
    The Black Parade
    Simultaneously brutal and hilarious, and bristling with wake-up-call urgency, “The Black Parade” may prove to be the best rock record of the year.
    • 73 Metascore
    • 90 Critic Score
    Doctor's Advocate
    Barring some last-minute surprise, he has made the best hip-hop album of the year. [9 Nov 2006]
    • The New York Times
    • 89 Metascore
    • 90 Critic Score
    Hell Hath No Fury
    These clattering and clear-eyed tracks add up to something singular. [27 Nov 2006]
    • 87 Metascore
    • 90 Critic Score
    Neon Bible
    Arcade Fire mines classic U2 and Bruce Springsteen far better than the Killers recently did. And Arcade Fire didn’t lose its own voice in an attempt to sound bigger and grander. [5 Mar 2007]
    • 86 Metascore
    • 90 Critic Score
    Sound Of Silver
    The strongest stuff of Mr. Murphy’s career.
    • 79 Metascore
    • 90 Critic Score
    In Advance Of The Broken Arm
    The year’s most exciting rock ’n’ roll album. [26 Feb 2007]
    • 79 Metascore
    • 90 Critic Score
    The Reminder
    “The Reminder” is a modestly scaled but quietly profound pop gem: sometimes intimate, sometimes exuberant, filled with love songs and hints of mystery. [15 Apr 2007]
    • 80 Metascore
    • 90 Critic Score
    The Con
    Somehow The Con is even more obsessive sounding than Tegan and Sara’s earlier work, and it’s probably even better; it could well be one of the year’s best albums.
    • 77 Metascore
    • 90 Critic Score
    The Cool
    Lupe Fiasco and his producers--mostly Soundtrakk--have clarified the lyrics and brought out the hooks. The result is a three-act allegory that’s also one of the year’s best hip-hop albums.
    • 80 Metascore
    • 90 Critic Score
    Album
    Album is one of the year’s most bracing pop releases, and one of the best, a devastatingly fresh reframing of the pop songbook.
    • 72 Metascore
    • 90 Critic Score
    The Courage Of Others
    But there’s a strong presence to the album, with its meticulous atmosphere and granite consistency of tone. The chiming guitars of a pair of Erics (Pulido and Nichelson), and the tasteful work of a the drummer McKenzie Smith bring gravity to the band’s gloss on psychedelic folk.
    • 85 Metascore
    • 90 Critic Score
    Have One On Me
    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.
    • 81 Metascore
    • 90 Critic Score
    Yuck
    This band's self-titled debut (on Fat Possum) is disarming all the same, certain to be one of the year's most unabashedly beautiful albums.
    • 78 Metascore
    • 90 Critic Score
    Take Care
    That Take Care is an almost complete success is no small feat, especially given that it's an accomplishment of form more than of content, content having been handled assuredly on the last two Drake releases
    • 83 Metascore
    • 90 Critic Score
    Apocalypse
    Apocalypse is bolder and clearer, less blissed-out and more grippingly immediate than [2011's The Golden Age of Apocalypse].
    • 84 Metascore
    • 90 Critic Score
    Dream River
    You sense that he’s walked past those doors, revising his ideas, waiting, looking for something. He’s found it. Listen through his astonishing new album, Dream River, and you will hear, lined up neatly, his trademarks.
    • 79 Metascore
    • 90 Critic Score
    Nothing Was the Same
    None of [the guest vocals] disrupt Drake’s effortless triumph over mainstream rap excess.
    • 85 Metascore
    • 90 Critic Score
    Beyoncé
    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.
    • 79 Metascore
    • 90 Critic Score
    The Most Lamentable Tragedy
    The high, both in the story line and in the course of the album, is temporary. But it’s one of several vertiginous peaks on a pretty vertiginous record.
    • 88 Metascore
    • 90 Critic Score
    Divers
    [A] rather brilliant record.... You almost want to hold the whole thing still, flatten it out and study it.
    • 92 Metascore
    • 90 Critic Score
    Lemonade
    ["Sorry,"] is a combative, unglossy track on an album full of them. ... As she did with her 2013 album, “Beyoncé,” she has also paired the music with full-length video that expands and deepens its impact.
    • 75 Metascore
    • 90 Critic Score
    4 Your Eyez Only
    It is spartan but sumptuous, emotionally acute but plain-spoken. There’s an extraordinary sense of calm pervading this album, one of the year’s most finely drawn.
    • 93 Metascore
    • 90 Critic Score
    A Crow Looked at Me
    There is sad music, which is to say music that deploys lyrical or musical motifs meant to connote misery. And then there is this album, which mostly exists in a space beyond those concerns. It is an album because a musician made it and it is broken up into songs, but it is also a diary, a balled-up tissue, found art.
    • 84 Metascore
    • 90 Critic Score
    Mental Illness
    Mental Illness wallows in its troubles, and it’s an exquisite wallow.
    • 95 Metascore
    • 90 Critic Score
    DAMN.
    Tart and punchy.... Sometimes boisterous, sometimes swampy, rarely fanciful album--it’s Mr. Lamar’s version of the creeping paranoia that has become de rigueur for midcareer Drake. And yet this is likely Mr. Lamar’s most jubilant album, the one in which his rhymes are the least tangled.
    • 100 Metascore
    • 90 Critic Score
    OK Computer: OKNOTOK 1997-2017
    The remasters find some new glimmers of clarity and sparkle, particularly on guitar sounds, but aren’t startlingly different from past versions. ... After 20 years, it’s clear that “OK Computer” was the album on which Radiohead most strongly embraced and, simultaneously, confronted the legacy of the Beatles.
    • 86 Metascore
    • 90 Critic Score
    Soul of a Woman
    Soul of a Woman is a final set of genre-perfect old-school soul: brisk rumba-soul in “Sail On,” hand-clapping neo-Motown in “Rumors,” a girl-group slow dance topped with hovering strings in “When I Saw Your Face.” The band sounds as if it’s playing live in the studio.
    • 81 Metascore
    • 90 Critic Score
    Time & Space
    Time & Space is its outstanding second album, just over 25 minutes long, and an urgent, clear and bruising statement of purpose.
    • 84 Metascore
    • 90 Critic Score
    Invasion of Privacy
    What’s most promising about the exuberant and impressive Invasion of Privacy--an album full of thoughtful gestures, few of them wasteful--is that it’s a catalog of directions Cardi, 25, might go in, slots she might fill, or even invent. ... A hip-hop album that doesn’t sound like any of its temporal peers.
    • 81 Metascore
    • 90 Critic Score
    Sweetener
    Ms. Grande backs up her statements with song-and-dance mastery. ... She’s her own choir, support group and posse. While a few guest vocalists (Mr. Williams, Nicki Minaj, Missy Elliott) provide a little grit for contrast, Ms. Grande sails above any fray, past or present. Her aplomb is her triumph.
    • 93 Metascore
    • 90 Critic Score
    Room 25
    What she wants to say on Room 25 is complex: thoughts on community, sensuality, mortality and self-determination. ... Noname is a full-fledged maverick, but not an abrasive one. Phoelix’s production situates her in leisurely, atmospheric R&B, and there’s almost always the hint of a smile in her voice. But no one should mistake her soft, playful tone for submissiveness.
    • 83 Metascore
    • 90 Critic Score
    Piano & A Microphone 1983
    While the session is informal--he sniffles now and then, and at times something rattles in the piano--the performance is not sloppy for a moment. The one-take, real-time vocals are exquisite. .. He shifts musical styles and vocal personae at whim--melancholy, playful, devout, flirtatious--yet it’s all Prince. ... It’s a glimpse of a notoriously private artist doing his mysterious work.
    • 81 Metascore
    • 90 Critic Score
    This Land
    On This Land, his third major-label studio album, his songwriting has caught up with his playing. ... It has something to do with the power of contrariness: that is, Clark’s determination to deliver the raw, analog, spontaneous opposite of crisply quantized digital content. And it has a lot to do with America in 2019, where division, frustration and seething anger can use an outlet with the historical resonance and emotional depth of the blues.
    • 89 Metascore
    • 90 Critic Score
    When I Get Home
    Although the album is punctuated by spoken-word interludes--bits of poetry, self-help, comedy and tribute--it is designed to flow as a whole, gradually infusing a room like incense or the smells of home cooking. ... And Solange’s voice is sure-footed and playful, confident that the music will follow her every whim. ... Outside a few prominent guest raps, Solange and her musicians slip the collaborators into the background. This is her space, her sanctuary.
    • 77 Metascore
    • 90 Critic Score
    The Lion King: The Gift
    Beyoncé joins their ranks [Paul Simon, David Byrne, Peter Gabriel, Carlos Santana] soulfully and attentively, seeking full-fledged fusions. She mixes (apparently) personal thoughts and archetypal ones; she savors musical hybrids and rhythmic challenges; and she digs in to every line she sings. ... Unlike the movie that occasioned it, “The Lion King: The Gift” is no remake or reiteration, no faraway fable. It tells a story of its own.
    • 80 Metascore
    • 90 Critic Score
    8: Kindred Spirits Live at the Lobero
    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.
    • 80 Metascore
    • 90 Critic Score
    After Hours
    “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.
    • 90 Metascore
    • 90 Critic Score
    Punisher
    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.
    • 99 Metascore
    • 90 Critic Score
    Sign O' the Times [Deluxe Edition]
    Some of the Vault tracks are early or alternate versions of familiar songs, but dozens are newly revealed. Prince’s original choices for the album hold up. But it’s a delight to hear so much more.
    • 87 Metascore
    • 90 Critic Score
    Joni Mitchell Archives, Vol. 1: The Early Years 1963-1967 [Box Set]
    A thorough but imposing six hours of material, this collection is less about any specific unearthed gem than the larger transformation it charts.
    • 84 Metascore
    • 90 Critic Score
    Little Oblivions
    Magnificent. ... Although she played all the instruments on “Little Oblivions” herself, she built out most of its arrangements so they could be performed with a full band onstage. This choice brings a new, sweeping dynamism to Baker’s music, and keeps “Little Oblivions” from feeling sonically repetitive.
    • 83 Metascore
    • 90 Critic Score
    Sour
    Nuanced and often exceptional debut album. ... Songwriting flourish is emblematic of what Rodrigo has learned from Taylor Swift on this album (which, in shorthand, is Swift’s debut refracted through “Red”): nailing the precise language for an imprecise, complex emotional situation; and working through private stories in public fashion.
    • 87 Metascore
    • 90 Critic Score
    In These Silent Days
    “In These Silent Days” consolidates Carlile’s strengths: musical, writerly, maternal, political.
    • 88 Metascore
    • 90 Critic Score
    Valentine
    “Valentine,” her remarkable second album as Snail Mail, is alive with such crackling and revelatory emotion.
    • 88 Metascore
    • 90 Critic Score
    30
    Even as she sings about desperation and uncertainty, on “30” Adele’s voice is more supple and purposeful than ever, articulating every consonant and constantly ornamenting her melodies without distracting from them. Details are fastidious.
    • 88 Metascore
    • 90 Critic Score
    Dawn FM
    “Dawn FM,” his fifth major-label album, is sleek and vigorous and also, again, a light reimagining of what big-tent music might sound like now, in an era when most global stars have abandoned the concept.
    • 92 Metascore
    • 90 Critic Score
    Ants From Up There
    Throughout “Ants From Up Here,” and through the course of every song, Black Country, New Road tests and reinvents itself, creating music that sounds both intricately plotted and precarious.
    • 87 Metascore
    • 90 Critic Score
    The 7th Hand
    Another collection of all originals, it is just as unrelenting as “Omega.”
    • 88 Metascore
    • 90 Critic Score
    Big Time
    Superb. ... “Big Time” (which she recorded in Topanga, Calif., with the producer Jonathan Wilson) is charged with a continuous current of weighty, transformative and bracingly cleareyed emotion.
    • 100 Metascore
    • 90 Critic Score
    Revolver Special Edition (Super Deluxe) [Box Set]
    With a few takes of each song, the session tracks hint at how intuitively the Beatles worked. ... The new mixes on the expanded “Revolver,” made with current technology and 21st-century ears, are a pleasure; they have more transparency and a more three-dimensional sense of space than the 1966 mixes. ... The new set insists that the clearer it’s heard, the odder it is. “Revolver” still holds surprises.
    • 87 Metascore
    • 90 Critic Score
    And in the Darkness, Hearts Aglow
    Every so often, this imperative to speak big-tent truths can become strained and make her lyrics frustratingly vague, as on “Children of the Empire” (“we tend to live long, that’s why so many things go wrong”), but that song’s gorgeous vocal melody and Mering’s impassioned performance lift it beyond its limitations.
    • 84 Metascore
    • 90 Critic Score
    Seven Psalms
    “Seven Psalms” stays true to Simon’s own instincts: observant, elliptical, perpetually questioning and quietly encompassing. ... It has places of lingering contemplation and it has sudden, startling changes; its informality is exactingly planned.
    • 95 Metascore
    • 90 Critic Score
    Fly or Die Fly or Die Fly or Die (world war)
    It is just as electrifying as the group’s first two LPs, but with a wider sonic horizon and more parts in motion. And there’s a triumphant streak running through it that only heightens the pain of Branch’s demise.
    • 91 Metascore
    • 90 Critic Score
    Guts
    Poignantly fraught, spiritually and sonically agitated. .... Her self-doubt is a powerful animating force. Throughout this album, she kiln-fires her anxieties into lyrics that cut deep. .... Here [on "Teenage Dream"], and in the most potent moments on “Guts,” Rodrigo’s music pulses with the verve of someone who’s been buttoned tight beginning to come loose. Unraveling is messy business, but it is also freedom.
    • 91 Metascore
    • 90 Critic Score
    Black Rainbows
    “Black Rainbows” is one songwriter’s leap into artistic freedom, unconcerned with genre expectations or radio formats. It’s also one more sign that songwriters are strongest when they heed instincts rather than expectations.
    • 88 Metascore
    • 90 Critic Score
    Orquídeas
    It’s an album of breezy confidence and sly ingenuity, easily moving among futuristic electronics, 1990s nostalgia and Latin roots. .... Lavishly layered vocals nestle among glimmering electronic sounds and programmed beats, and on “Orquídeas,” her voice sounds completely untethered by gravity.
    • 76 Metascore
    • 90 Critic Score
    Coming Home
    An album that sums up and expands what Usher does best. .... Throughout the album, Usher cruises through the musical and dramatic challenges that he has set for himself.
    • 74 Metascore
    • 80 Critic Score
    trampin'
    At 57 Ms. Smith has made the most diverse music of her career.
    • 64 Metascore
    • 80 Critic Score
    In Love And Death
    Weird and catchy and unexpectedly funny. [11 Oct 2004]
    • The New York Times
    • 75 Metascore
    • 80 Critic Score
    Talkie Walkie
    The arrangements are light and immaculate, the vocals coo and cajole, and the melodies are addictive.
    • 84 Metascore
    • 80 Critic Score
    The Pretty Toney Album
    "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.
    • 83 Metascore
    • 80 Critic Score
    Homesongs
    He uses a roomful of instruments and toys to turn the album into a homemade pop symphony.
    • 80 Metascore
    • 80 Critic Score
    Now Here Is Nowhere
    There are moments when the Secret Machines imitate their influences a little too closely, and at times the brothers' voices aren't as imposing as the arrangements. But for most of "Now Here Is Nowhere," the Secret Machines make music that matches the scale of their ambitions.
    • 71 Metascore
    • 80 Critic Score
    Split The Difference
    If only all stupid rock music could be this intelligent.
    • 84 Metascore
    • 80 Critic Score
    ONoffON
    Tense, febrile and messy, but tuneful and cohesive at the same time. [2 May 2004]
    • 80 Metascore
    • 80 Critic Score
    What I Do
    He often starts with a familiar scenario or sentiment, then finds a way to wriggle free of predictability without giving up on the initial idea.
    • 67 Metascore
    • 80 Critic Score
    Sweat
    These are easily Nelly's best albums so far.
    • 62 Metascore
    • 80 Critic Score
    Suit
    In his world, being grown and sexy doesn't mean being complacent - it means being curious, maybe even brave.
    • 90 Metascore
    • 80 Critic Score
    Funeral
    One of the year's best indie-rock albums. [3 Oct 2004]
    • The New York Times
    • 88 Metascore
    • 80 Critic Score
    From A Basement On The Hill
    The low-fi yet meticulous arrangements only add to the sense of isolation and the poignancy of the songs. [18 Oct 2004]
    • 84 Metascore
    • 80 Critic Score
    Medulla
    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]
    • 76 Metascore
    • 80 Critic Score
    With The Lights Out
    It's a collection of odds and ends, yet the music can be cathartic and it can be achingly intimate. [29 Nov 2004]
    • 71 Metascore
    • 80 Critic Score
    Different Days
    Each song opens into a lush inner dream world. [31 Jan 2005]
    • The New York Times
    • 72 Metascore
    • 80 Critic Score
    Burn The Maps
    It's an intensely private album, full of desolation, leave-takings, recriminations and regrets. [21 Feb 2005]
    • 65 Metascore
    • 80 Critic Score
    The Beekeeper
    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]
    • 66 Metascore
    • 80 Critic Score
    The Massacre
    It is a collection of stark but sly threats and come-ons, nearly as addictive as its predecessor. [3 Mar 2005]
    • 78 Metascore
    • 80 Critic Score
    No Wow
    For all that the Kills owe to P. J. Harvey, they also have angles of their own. [13 Mar 2005]
    • The New York Times
    • 81 Metascore
    • 80 Critic Score
    Set Yourself On Fire
    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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