The Wire's Scores

  • Music
For 1,402 reviews, this publication has graded:
  • 51% higher than the average critic
  • 4% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 0.7 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 Box [Box Set]
Lowest review score: 10 Amazing Grace
Score distribution:
1402 music reviews
    • 75 Metascore
    • 50 Critic Score
    Mess is more immediate than the past couple of albums, and in context, more baffling. [Mar 2014, p.63]
    • The Wire
    • 73 Metascore
    • 50 Critic Score
    The music tends to come up short of its lofty goals, a fact made more frustrating in the moments that prove that they are capable. [Apr 2014, p.60]
    • The Wire
    • 62 Metascore
    • 50 Critic Score
    Aside from the odd flurry of inconsequential Afrobeat-inflected guitar, the style of Someday World is middlebrow session fare. [May 2014, p.61]
    • The Wire
    • 67 Metascore
    • 50 Critic Score
    It's hard not to feel that this dense conceptual flotsam is arranged around a lucuna. [May 2014, p.67]
    • The Wire
    • 70 Metascore
    • 50 Critic Score
    The finished product proves too studied and reverent of its sources. [Jul 2014, p.64]
    • The Wire
    • 69 Metascore
    • 50 Critic Score
    The mirth on offer here is thin fare, for the most part. [May 2014, p.63]
    • The Wire
    • 65 Metascore
    • 50 Critic Score
    While this collection of songs is indeed tremendously soft, too many vibrations are swept under the rug of Taylor's voice. [Aug 2014, p.58]
    • The Wire
    • 73 Metascore
    • 50 Critic Score
    As awkwardly beautiful as much of dark Comedy is, it's such a tricky album that it is a difficult to warm to. [Aug 2014, p.62]
    • The Wire
    • 65 Metascore
    • 50 Critic Score
    Occasionally it threatens to work. [Jul 2014, p.63]
    • The Wire
    • 73 Metascore
    • 50 Critic Score
    Brooks builds eight neat instrumentals from gradually layer guitar, playing in a closed circle with himself, a dialogue that is sometimes affecting but more often banal. [Aug 2014, p.59]
    • The Wire
    • 67 Metascore
    • 50 Critic Score
    Deprived of the rushing, crescendoless highs of Glass Swords, the tracks often seem to struggle to articulate their fascination, or to find satisfying structures. [Sep 2014, p.60]
    • The Wire
    • 68 Metascore
    • 50 Critic Score
    They sound somewhere between being tentative and caught in a frozen, allegorical state of sketchiness, turning the sleepy head of bedroom pop into a death's head. [Sep 2014, p.64]
    • The Wire
    • 67 Metascore
    • 50 Critic Score
    Nehru is essentially indistinguishable from any number of bedroom rappers clogging Soundcloud with their freestyles to Doom's decade old Special Herbs instrumentals. [Nov 2014, p.76]
    • The Wire
    • 74 Metascore
    • 50 Critic Score
    Singer's Grave feels like an exercise, something which never be said for the work released under the Palace banner in the 1990s. [Nov 2014, p.72]
    • The Wire
    • 79 Metascore
    • 50 Critic Score
    Xen
    Shorn of vocals, Xen suffer the same fate as much beloved contemporary beat music, which is a kind of dazzling monotony. [Nov 2014, p.63]
    • The Wire
    • 80 Metascore
    • 50 Critic Score
    The impression left by The Hums's buzzing, keys-assisted pseudo-punk is that of a heavier Clinic or even Scottish also-rans Magoo. [Nov 2014, p.72]
    • The Wire
    • 72 Metascore
    • 50 Critic Score
    The mish-mash of styles wouldn't be an issue if it sounded like Pateras and Patton were surrendering to something other than themselves, but what comes across instead is a desire to demonstrate mastery. [Jan 2015, p.70]
    • The Wire
    • 75 Metascore
    • 50 Critic Score
    There is, in the end, something vaguely nauseating about a bunch of popular entertainers in middle age creating state-supported art inspired by the deaths of countless young men caused by an act of state-subsidised slaughter. [Jan 2015, p.61]
    • The Wire
    • 72 Metascore
    • 50 Critic Score
    On tracks with genuine maverick talents like E-40, his fundamental lack of character appears (or disappears) in sharp relief. [Apr 2015, p.65]
    • The Wire
    • 63 Metascore
    • 50 Critic Score
    It's a series of blows that fail to connect.... Taken on its own terms, divorced from the genre to which it owes its existence The Ark Work's dogged pursuit of incongruous juxtaposition can be hugely entertaining. [Apr 2015, p.53]
    • The Wire
    • 79 Metascore
    • 50 Critic Score
    Somehow unconvincing, it's like beach bar escapism spliced with an incidental tune from the TV comedy show The Mighty Boosh. [Mar 2015, p.60]
    • The Wire
    • 73 Metascore
    • 50 Critic Score
    His latest disc is only occasionally compelling. [Jun 2015, p.50]
    • The Wire
    • 69 Metascore
    • 50 Critic Score
    PC Music Volume 1 resembles the soundtrack to a posh private schooler's teen sleepover--glossy, giddy, sparkly and shallow. [Aug 2015, p.55]
    • The Wire
    • 68 Metascore
    • 50 Critic Score
    The atmosphere is underwrought, miserable, monochrome. [Jun 2015, p.46]
    • The Wire
    • 74 Metascore
    • 50 Critic Score
    Boosie's attempts to remain commercially relevant in today's rap climate, however, makes the album a diluted draught of medicine and mediocre chart fodder. [Jul 2015, p.57]
    • The Wire
    • 70 Metascore
    • 50 Critic Score
    Her latest iteration that limited palette of vintage machines feels trapped in the past; evocative but ossified. [Sep 2015, p.45]
    • The Wire
    • 53 Metascore
    • 50 Critic Score
    Phase One impresses more on first listen [than Phase Two].... But it wears thin quickly. [Feb 2016, p.54]
    • The Wire
    • 71 Metascore
    • 50 Critic Score
    Sounds at times as much like an audio documentary of Cameron's Britain as a collection of electronic songs. [Oct 2015, p.62]
    • The Wire
    • 74 Metascore
    • 50 Critic Score
    There's not much going on texturally. [Nov 2015, p.56]
    • The Wire
    • 71 Metascore
    • 50 Critic Score
    ["f=(2.5)"] has a nice queasy seasick vibe, but feels over-egged, with too many ideas thrown at it too quickly. Other tracks repeat this formula with diminishing returns and cut 'n' paste fatigue sets in.... "f=(2.6)" is a lot more fun. [Oct 2015, p.48]
    • The Wire