The Wire's Scores

  • Music
For 1,056 reviews, this publication has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% 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:
1,056 music reviews
    • 71 Metascore
    • 80 Critic Score
    Melvins' evolution from potential stoner rock dinosaurs to 21st century sound shifters is complete. [Jul 2008, p.52]
    • The Wire
    • 81 Metascore
    • 80 Critic Score
    In the best way, Barber and Pearson distil their knowledge and experimentation into something which sounds like the raw essence of a musical personality [Aug 2008]
    • The Wire
    • 75 Metascore
    • 80 Critic Score
    This EP, the first in a projected triptych, shows the group in their best light. [Nov 2008, p.74]
    • The Wire
    • 82 Metascore
    • 80 Critic Score
    I can attest that despite initial misgivings, this does grow on you. [Sep 2008, p.64]
    • The Wire
    • 81 Metascore
    • 80 Critic Score
    He's come up with a debut album that combines vaulting ambition, real musicality and a deceptive deftness of touch. [Jun 2008, p.47]
    • The Wire
    • 69 Metascore
    • 80 Critic Score
    There's not much variety over these nine tracks, but to hell with variety when you sound this good. [Dec 2008, p.56]
    • The Wire
    • 67 Metascore
    • 80 Critic Score
    This is a magical and bafflingly arresting album. [Sep 2008, p.53]
    • The Wire
    • 83 Metascore
    • 80 Critic Score
    This is a beautiful record, but I wish it had a little more chaos in it. [Oct 2008, p.58]
    • The Wire
    • 62 Metascore
    • 80 Critic Score
    They were the first on the block with this particular subgenre and are still in front of a massive paxk following in their wake. [Dec 2008, p.72]
    • The Wire
    • 69 Metascore
    • 80 Critic Score
    While bound by established conventions, [it] is nonetheless rich and dazzling enough to soundtrack a saga that exists outside the bounds of normal human capabilities. [Oct 2008, p.60]
    • The Wire
    • 72 Metascore
    • 80 Critic Score
    For every track that delivers the expected, another does something quite extraordinary. [Oct 2008, p.72]
    • The Wire
    • 78 Metascore
    • 80 Critic Score
    It could all, of course, be unbearably mannered, but the duo's constant striving for layered perfection, contrasted with the very human qualities of the vocals, keep it grounded in some sort of feeling. [Sep 2008, p.61]
    • The Wire
    • 75 Metascore
    • 80 Critic Score
    Pioulard's work is a remarkably effortless cohabitation between bedroom electronics and wistful songwriting. [Dec 2008, p.64]
    • The Wire
    • 78 Metascore
    • 80 Critic Score
    If the crackling electronic chaff of previous efforts seems less dominant this time around, it most likely because the group have learned to skillfully incorporate it into their increasingly accomplished and accessible songcraft. [Nov 2008, p.74]
    • The Wire
    • 79 Metascore
    • 80 Critic Score
    Just as David Tibet uses English folk to create his own apocalyptic mythos, so Wood takes the bare bones of Americana and makes something personal and timeless. [Oct 2008, p.58]
    • The Wire
    • 76 Metascore
    • 80 Critic Score
    This is one of the best garage pop sides sine The Chills' own "Brave Words." [Dec 2008, p.70]
    • The Wire
    • 76 Metascore
    • 80 Critic Score
    The group's debut for Thurston Moore's imprint witnesses the coagulation of the four-piece into something more identifiable as an honest-to-badness rock group. [Nov 2008, p.68]
    • The Wire
    • 70 Metascore
    • 80 Critic Score
    This 21st century Berlin sounds more muscular and dangerous, but not without a certain delicacy either. [Nov 2008, p.68]
    • The Wire
    • 73 Metascore
    • 80 Critic Score
    The result is surprisingly seamless and the producer rarely puts a foot wrong. [Nov 2008, p.79]
    • The Wire
    • 83 Metascore
    • 80 Critic Score
    This is artfully bracing listening. [Sep 2008, p.55]
    • The Wire
    • 69 Metascore
    • 80 Critic Score
    Nomad is well-name--but what's most striking is not its diversity, but its coherence. [Dec 2008, p.73]
    • The Wire
    • 77 Metascore
    • 80 Critic Score
    It seems likely Buzz and company have also been listening to a fair bit of Magma and Aphrodite's child, given the interludes of unaccompanied percussion, brooding Gothic keyboards and tightly complex arrangements which result in the most consistently impressive album this line-up has released to date. [Jul 2010, p.64]
    • The Wire
    • 90 Metascore
    • 80 Critic Score
    The album is the product of a consistent vision, synthesizing hip-hop's beat architecture and sound manipulation with bespoke funk playing. [Sep 2010, p.50]
    • The Wire
    • 81 Metascore
    • 80 Critic Score
    The duo fashion a collection of bright funny and often extremely beautiful songs that bristle with invention. [Aug 2010, p.58]
    • The Wire
    • 77 Metascore
    • 80 Critic Score
    If Richter was attempting to instill some of the haunted bleakness of Winterreise into his own music, he has certainly succeeded. [Jul 2010, p.60]
    • The Wire
    • 77 Metascore
    • 80 Critic Score
    Together, these two collections add up to a desolate statement that is naked enough to make listening feel like a act of voyeurism. [Sep 2010, p.62]
    • The Wire
    • 81 Metascore
    • 80 Critic Score
    One of his purely enjoyable recordings. [Sep 2010, p.68]
    • The Wire
    • 83 Metascore
    • 80 Critic Score
    Swans are alive, utterly. A terrible beauty is reborn. [Sep 2010, p.51]
    • The Wire
    • 75 Metascore
    • 80 Critic Score
    The sound is persistently visceral even as the succession of surfaces and interventions belies a planned set of juxtapositions. [Dec 2010, p.52]
    • The Wire
    • 72 Metascore
    • 80 Critic Score
    Their debut album King Night defies genre tagging and, for once, lives up to the drooling media accolades already smeared on it. [Dec 2010, p.54]
    • The Wire