The Wire's Scores

  • Music
For 1,113 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 0.8 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 Leaves Turn Inside You
Lowest review score: 10 Amazing Grace
Score distribution:
1,113 music reviews
    • 85 Metascore
    • 80 Critic Score
    It's clear that, for Shipp, The Tradition clearly goes way beyond jazz. [Jun 2011, p.54]
    • The Wire
    • 74 Metascore
    • 80 Critic Score
    Where as The Notwist traffic in mellow tempos and beautifully seamless surfaces, Dose and Jel conjure all manner of conniption ta[s and noise. [Jul 2011, p.62]
    • The Wire
    • 78 Metascore
    • 80 Critic Score
    Far from being derivative, Demolished Thoughts remains uniquely Moore's own. [Jun 2011, p.51]
    • The Wire
    • 80 Metascore
    • 80 Critic Score
    An unusual and unexpected triumph. [Jun 2011, p.44]
    • The Wire
    • 70 Metascore
    • 80 Critic Score
    That persistent footwork pulse holds the album together, preventing it from dispersing into a grey stew of genres. [May 2011, p.53]
    • The Wire
    • 79 Metascore
    • 80 Critic Score
    The disc's closing one-two punch of "white Electric" and "Sundome," render Glass Drop a triumph, and a major evolutionary leap. [July 2011, p.44]
    • The Wire
    • 72 Metascore
    • 80 Critic Score
    Clamber aboard and settle in for a very sweet ride. [Jul 2011, p.55]
    • The Wire
    • 76 Metascore
    • 80 Critic Score
    Easily Hud-Mo's best work yet. [Aug 2011, p.67]
    • The Wire
    • 80 Metascore
    • 80 Critic Score
    Sum's bigger than the parts, though, and Double Demon delivers a whack of sound and a level of detail far in excess of anything on earlier ESO and Sound Is Delmarks. [Aug 2011, p.70]
    • The Wire
    • 70 Metascore
    • 80 Critic Score
    What could have ended up sounding like sketches, are now completed pieces,m full of suspense flashback, refrains ad other temporal tricks. [Oct 2011, p.61]
    • The Wire
    • 81 Metascore
    • 80 Critic Score
    Never merely texture, just noise or dumb repetition, but always, instead, living and intelligent music. [Nov 2011, p.63]
    • The Wire
    • 83 Metascore
    • 80 Critic Score
    By unplugging the effects and simply playing, they sound re-energized. [Oct 2011, p.61]
    • The Wire
    • 73 Metascore
    • 80 Critic Score
    Season Of Earth is music rooted deep in the black, black earth and whose only limit is the blue, blue sky. [Oct 2011, p.50]
    • The Wire
    • 87 Metascore
    • 80 Critic Score
    This is the most introspective Wolves In The throne Room release to date. [Sep 2011, p59]
    • The Wire
    • 76 Metascore
    • 80 Critic Score
    Like every track on this EP, it's an incredibly precise and convincing reconstruction of mid-80s electro-pop that is nostalgic with out the obfuscating murk of H-Pop. [Nov 2011, p.70]
    • The Wire
    • 79 Metascore
    • 80 Critic Score
    On How The Thing Sings, Orcutt reveals a more open vision. [Oct 2011, p.58]
    • The Wire
    • 84 Metascore
    • 80 Critic Score
    Not a visionary rollercoaster thundering around the heavens, but a rewarding slow and subtle grower. [Oct 2011, p.53]
    • The Wire
    • 79 Metascore
    • 80 Critic Score
    Though they're written to sound simple on the surface, PG Six's songs reveal an unusually high level of artistry on closer inspection. [Sep 2011, p.62]
    • The Wire
    • 82 Metascore
    • 80 Critic Score
    Th art here is ensuring that too much is in fact just enough, and Rustie is a master of it. [Oct 2011, p.51]
    • The Wire
    • 45 Metascore
    • 80 Critic Score
    Metallica's unrelenting sledgehammer style works as the perfect complement to Reed's vision of compassionless love, with monolithic chords deployed with almost surgical precision wile he dissects relationships w of masochism and power. [Dec 2011, p.63]
    • The Wire
    • 74 Metascore
    • 80 Critic Score
    Just like the great dub albums of the past, this is one that will provoke revisits to the original. [Jan 2012, p.67]
    • The Wire
    • 80 Metascore
    • 80 Critic Score
    He spins an engrossing narrative in short spans of time, packing songs with layers that are felt when they're not immediately perceived. [Nov 2011, p.63]
    • The Wire
    • 83 Metascore
    • 80 Critic Score
    XXX
    On XXX his own aesthetic seems fully formed. [Oct 2011, p.65]
    • The Wire
    • 83 Metascore
    • 80 Critic Score
    It's the generous flow of rapt, wistful melody that makes Severant such an appealing prospect. [Nov 2011, p.72]
    • The Wire
    • 71 Metascore
    • 80 Critic Score
    Transcending its function as a score, this music works as a collection of instrumental vignettes, individual yet circular in structure. [Nov 2011, p.64]
    • The Wire
    • 77 Metascore
    • 80 Critic Score
    Far Side Virtual is a convincing evocation of the digital dreamtime. [Nov 2011, p.58]
    • The Wire
    • 78 Metascore
    • 80 Critic Score
    As empty experiences go, New album is one of the best. [Feb 2012, p.68]
    • The Wire
    • 59 Metascore
    • 80 Critic Score
    This pairing actually works almost as well as the one that produced that incredible LP [1964's Folk Roots, New Routes]. [Nov 2011, p.67]
    • The Wire
    • 84 Metascore
    • 80 Critic Score
    The framework is so decentered there's barely a frame. That, it turns out, leaves room for the work. [Dec 2011, p.52]
    • The Wire
    • 84 Metascore
    • 80 Critic Score
    It's a beguilingly well-delivered statement in a dialect that was sidelined in favor of the cult of bass or the florescent synths. [Dec 2011, p.53]
    • The Wire