The Wire's Scores

  • Music
For 1,158 reviews, this publication has graded:
  • 50% higher than the average critic
  • 4% same as the average critic
  • 46% 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 SMiLE
Lowest review score: 10 Amazing Grace
Score distribution:
1,158 music reviews
    • 85 Metascore
    • 80 Critic Score
    [The Lost Tapes is] a welcome re-opening of the gates. [Jun 2012, p.53]
    • The Wire
    • 83 Metascore
    • 80 Critic Score
    A striking document of Swans' current live form. [Jul 2012, p.64]
    • The Wire
    • 87 Metascore
    • 80 Critic Score
    Fetch sinks below the high water level of conscious synapses firing to collapse perceptions of time and warm the sheets of the subconscious. [Aug 2012, p.48]
    • The Wire
    • 79 Metascore
    • 80 Critic Score
    His murky but upbeat productions augment this sensation, giving Skelethon a sort of B-boy gothic feel, an old school park jam recreated by Tim Burton. [Sep 2012, p.74]
    • The Wire
    • 76 Metascore
    • 80 Critic Score
    There's a handful of new material, all displaying superb arranger's skill. His unusual voice has improved too, broadening and mellowing from that nervous tenor of old. [May 2013, p.58]
    • The Wire
    • 76 Metascore
    • 80 Critic Score
    Micachu & the Shapes have yet to blunt their edge. [Jul 2012, p.60]
    • The Wire
    • 80 Metascore
    • 80 Critic Score
    This part of the past is not so much a source of rare metals to be strip-mined, but a seed bank of rare or lost varieties. [Jul 2012, p.63]
    • The Wire
    • 75 Metascore
    • 80 Critic Score
    Sadier's faith in the replenishing properties of silence has reactivated her production line of perfect pop miniatures. [Jul 2012, p.62]
    • The Wire
    • 80 Metascore
    • 80 Critic Score
    Others have their own versions of slow, simmering beauty, but rarely with so many other approaches and conceptions integrated. [Jun 2012, p.54]
    • The Wire
    • 82 Metascore
    • 80 Critic Score
    The thick consistency of America is of a different sort: lusher, more polished, wider in scope, almost symphonic in its conception and structure. [Aug 2012, p.43]
    • The Wire
    • 80 Metascore
    • 80 Critic Score
    An unequivocally rocking set on which Chasny is backed by his former group Comets on Fire. [Aug 2012, p.56]
    • The Wire
    • 78 Metascore
    • 80 Critic Score
    The closing track "Temptation" proves that electronic producers who refuse to be typecast are the ones who keep the music exciting. [Aug 2012, p.44]
    • The Wire
    • 72 Metascore
    • 80 Critic Score
    Strange Passion's careful curation and lavish sleeve notes give a belated but generous and welcome salute to an overlooked epoch in musical history and the passions it provoked. [Aug 2012, p.52]
    • The Wire
    • 75 Metascore
    • 80 Critic Score
    It's like being in a church of flesh, a satin abattoir, an immersive video game of obsessive love--sickly, addictive, raw. [Aug 2012, p.46]
    • The Wire
    • 75 Metascore
    • 80 Critic Score
    The musicians' sensibilities combine to create a bliss pop which doesn't simply evoke the spirit of summer, but allow it to bleed into every chord. [Oct 2012, p.64]
    • The Wire
    • 74 Metascore
    • 80 Critic Score
    Ariel Pink's writing is completely scattergun, but this is what can make it so disarming. [Sep 2012, p.56]
    • The Wire
    • 83 Metascore
    • 80 Critic Score
    [Tempest has] a sense of dues paid as a continual creative replenishment, rather than a swansong. [Nov 2012, p.63]
    • The Wire
    • 77 Metascore
    • 80 Critic Score
    [A] cunning, witty album. [Oct 2012, p.62]
    • The Wire
    • 82 Metascore
    • 80 Critic Score
    LV's South African explorations sound fresh in the current vogue for Footwork and trap rap references. [Sep 2012, p.73]
    • The Wire
    • 57 Metascore
    • 80 Critic Score
    It's one of the most personal recordings from any of the three collaborators. [Sep 2012, p.63]
    • The Wire
    • 70 Metascore
    • 80 Critic Score
    Clark [is] aiming for what he calls full mind distortion. The title track delivers. [Sep 2012, p.72]
    • The Wire
    • 84 Metascore
    • 80 Critic Score
    The synthetic sounds are more liquid and alive, the rhythms more nonchalantly funky, the unfolding narratives more gripping than previous work. [Dec 2012, p.64]
    • The Wire
    • 77 Metascore
    • 80 Critic Score
    This is music with character. [Sep 2012, p.67]
    • The Wire
    • 78 Metascore
    • 80 Critic Score
    Some of the tracks are dead ringers for math rock, but in Bishop and Chasny's hands that ornate form attains gut-level thrust. [Sep 2012, p.64]
    • The Wire
    • 76 Metascore
    • 80 Critic Score
    The results are sketches, in the best sense: unplanned, absorbing accidents as new pathways, concerned with mood rather than architectural precision. [Oct 2012, p.60]
    • The Wire
    • 79 Metascore
    • 80 Critic Score
    There is a roughness and a sense of surprise to these tracks completely lacking from many other Four Tet productions. [Oct 2012, p.62]
    • The Wire
    • 86 Metascore
    • 80 Critic Score
    It manages to evoke both void and overload simultaneously, and feels by turns oppressively dense and light as a feather. [Dec 2012, p.74]
    • The Wire
    • 71 Metascore
    • 80 Critic Score
    Just as there's something inescapably seductive about fast cars in a nocturnal metropolis, there's something innately pleasurable about this Emeralds release. [Nov 2012, p.58]
    • The Wire
    • 77 Metascore
    • 80 Critic Score
    Nothing here sounds forced, and Bailiff's continued use of effects doesn't so much obscure as communicate the heartfelt content of her songs more effectively. [Nov 2012, p.70]
    • The Wire
    • 83 Metascore
    • 80 Critic Score
    More impressive is how well he and his production circle weave their microfibre soul samples as to draw perpetual tension out of complete simplicity. [Nov 2012, p.73]
    • The Wire