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 Live in Europe 1967: Best of the Bootleg, Vol. 1
Lowest review score: 10 All The Right Reasons
Score distribution:
1820 music reviews
    • 76 Metascore
    • 100 Critic Score
    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
    • 99 Metascore
    • 100 Critic Score
    It captures Davis's finest working band at its apogee, straining at the limits of post-bop refinement.
    • 82 Metascore
    • 100 Critic Score
    You probably won't hear a better CD all year long. [30 Jan 2006]
    • 81 Metascore
    • 100 Critic Score
    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
    • 75 Metascore
    • 90 Critic Score
    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.
    • 82 Metascore
    • 90 Critic Score
    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.
    • 72 Metascore
    • 90 Critic Score
    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.
    • 80 Metascore
    • 90 Critic Score
    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.
    • 79 Metascore
    • 90 Critic Score
    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.
    • 69 Metascore
    • 90 Critic Score
    An imposing act of pop interpretation. [3 Oct 2005]
    • The New York Times
    • 100 Metascore
    • 90 Critic Score
    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.
    • 87 Metascore
    • 90 Critic Score
    2004's first great hip-hop album. [9 Feb 2004]
    • 86 Metascore
    • 90 Critic Score
    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
    Mental Illness wallows in its troubles, and it’s an exquisite wallow.
    • 78 Metascore
    • 90 Critic Score
    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
    • 77 Metascore
    • 90 Critic Score
    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.
    • 87 Metascore
    • 90 Critic Score
    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]
    • 85 Metascore
    • 90 Critic Score
    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.
    • 88 Metascore
    • 90 Critic Score
    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.
    • 89 Metascore
    • 90 Critic Score
    Gorgeous... One of the year's best electronic albums. [29 May 2005]
    • The New York Times
    • 79 Metascore
    • 90 Critic Score
    “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]
    • 88 Metascore
    • 90 Critic Score
    [A] rather brilliant record.... You almost want to hold the whole thing still, flatten it out and study it.
    • 83 Metascore
    • 90 Critic Score
    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
    There's a new layer of perspective on her magnificent third album. [3 Oct 2005]
    • The New York Times
    • 79 Metascore
    • 90 Critic Score
    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.
    • 83 Metascore
    • 90 Critic Score
    The best Modest Mouse album yet.
    • 92 Metascore
    • 90 Critic Score
    ["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.
    • 79 Metascore
    • 90 Critic Score
    The year’s most exciting rock ’n’ roll album. [26 Feb 2007]
    • 73 Metascore
    • 90 Critic Score
    Barring some last-minute surprise, he has made the best hip-hop album of the year. [9 Nov 2006]
    • The New York Times
    • 80 Metascore
    • 90 Critic Score
    Album is one of the year’s most bracing pop releases, and one of the best, a devastatingly fresh reframing of the pop songbook.