The Wire's Scores

  • Music
For 991 reviews, this publication has graded:
  • 51% higher than the average critic
  • 3% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 0.9 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 Miss E... So Addictive
Lowest review score: 10 Amazing Grace
Score distribution:
  1. Negative: 16 out of 991
991 music reviews
    • 82 Metascore
    • 80 Critic Score
    Another charming collection. [#248, p.51]
    • The Wire
    • 57 Metascore
    • 80 Critic Score
    The sound has a new depth. [#249, p.65]
    • The Wire
    • 74 Metascore
    • 80 Critic Score
    However difficult is might appear on first hearing, his music is at once curiously involving and constantly inviting. [#209, p.59]
    • The Wire
    • 78 Metascore
    • 80 Critic Score
    The comforting familiarity of the Boards' muted beats, synth washes and glowing keyboards is just as potent and valium soaked as it was on their brilliant 1998 debut. [1/2001, p.71]
    • The Wire
    • 80 Metascore
    • 80 Critic Score
    Abalanced, democratic collaboration, with neither unit dominating.... Ghost's faraway sound lends Damon & Naomi's straightahead arrangements a yearning, devotional air... [#199, p.56]
    • The Wire
    • 80 Metascore
    • 80 Critic Score
    This recording attests to their powerful rock credentials. [#201, p.63]
    • The Wire
    • 78 Metascore
    • 80 Critic Score
    Consistently entertaining. [#215, p.69]
    • The Wire
    • 78 Metascore
    • 80 Critic Score
    Such unashamed prettiness in a production is rare, and it's rarer still to achieve this without sliding into a quagmire of tweeness or an insufferable knowing smugness. [#252, p.62]
    • The Wire
    • 80 Metascore
    • 80 Critic Score
    The collaboration has had the effect of sharpening Oldham's focus and yielding one of the most gripping collections to bear one of his many pseudonyms. [#252, p.48]
    • The Wire
    • 73 Metascore
    • 80 Critic Score
    Ladd's eclectic and downbeat montage of samples creates a rootless soundscape, seemingly geographically transient, restless, impatient and unsettling. It is the perfect backdrop for Ladd's soul-searching reflexes and rants. [#251, p.54]
    • The Wire
    • 86 Metascore
    • 80 Critic Score
    LCD Soundsystem's gift is to forge iron from irony, show that cleverness need not be enervating. [#252, p.46]
    • The Wire
    • 76 Metascore
    • 80 Critic Score
    The Earth Is Blue has a glorious, spacey innocence that inspires affection. [#253, p.57]
    • The Wire
    • 75 Metascore
    • 80 Critic Score
    One imagines Blue Eyed In The Red Room might serve as an alternative soundtrack to Eternal Sunshine Of The Spotless Mind. [#252, p.47]
    • The Wire
    • 75 Metascore
    • 80 Critic Score
    [An] overstuffed sound hurricane. [#255, p.58]
    • The Wire
    • 88 Metascore
    • 80 Critic Score
    A thrilling affair. [#252, p.63]
    • The Wire
    • 78 Metascore
    • 80 Critic Score
    Guero turns out to be much stronger than its provenance suggests. [#256, p.66]
    • The Wire
    • 84 Metascore
    • 80 Critic Score
    This decidedly literate songcraft has a range of ancestors, including Talking Heads, Sparks and David Grubbs, but three albums along, The Books are nailing down a distinctive soundworld of their own. [#254, p.54]
    • The Wire
    • 72 Metascore
    • 80 Critic Score
    Touching and beautiful. [#256, p.63]
    • The Wire
    • 80 Metascore
    • 80 Critic Score
    If Brian Wilson had crashed a motorcycle and holed up to recuperate at Big Pink with The Band, this is how The Basement Tapes would have sounded. [#256, p.49]
    • The Wire
    • 80 Metascore
    • 80 Critic Score
    This intriguing, relatively mild entente between elegiac melodicism and freeform lyrics has many moments of quiet innovation. [#256, p.63]
    • The Wire
    • 81 Metascore
    • 80 Critic Score
    The only drawback to this semi-collage approach is that many tracks are too brief. [#256, p.51]
    • The Wire
    • 70 Metascore
    • 80 Critic Score
    It's clear... that the quartet... are growing in confidence and ideas. [#256, p.54]
    • The Wire
    • 73 Metascore
    • 80 Critic Score
    Darkness At Noon works because it doggedly pursues its convictions through to a satisfying conclusion and in doing so creates its own kind of offbeat logic. [#254, p.53]
    • The Wire
    • 76 Metascore
    • 80 Critic Score
    Callahan is a true original. [#255, p.65]
    • The Wire
    • 71 Metascore
    • 80 Critic Score
    A richly nuanced album, and eloquent in its restraint. [#257, p.57]
    • The Wire
    • 71 Metascore
    • 80 Critic Score
    Niblett takes the old quiet-loud dynamic and stretches it to unexpected lengths. [#258, p.68]
    • The Wire
    • 82 Metascore
    • 80 Critic Score
    The mood is always unsettled and unsettling, either furious or fragile. [#258, p.67]
    • The Wire
    • 69 Metascore
    • 80 Critic Score
    Caught somewhere between the big yucks and the thoughtful overview are moments of genuine strangeness that are both captivating and unsettling. [#255, p.59]
    • The Wire
    • 73 Metascore
    • 80 Critic Score
    These are what protest songs can sound like, feel like and taste like in the 21st century. [#257, p.52]
    • The Wire
    • 87 Metascore
    • 80 Critic Score
    As you try to sift through the dense crosstalk of twittering beats, your ears are beguiled ever deeper into Konono's rhythmic threshing machine. [#253, p.52]
    • The Wire