The Wire's Scores

  • Music
For 2,618 reviews, this publication has graded:
  • 51% higher than the average critic
  • 7% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 0.6 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Spiderland [Box Set]
Lowest review score: 10 Amazing Grace
Score distribution:
2618 music reviews
    • 56 Metascore
    • 40 Critic Score
    It pains me to think they’d record something so vacant and unneeded. Maybe 30 years ago this would have been a different album. But here and now, Two To One is a case of too little, too late. [Jan 21, p.82]
    • The Wire
    • 55 Metascore
    • 80 Critic Score
    It is an utterly twisted delight. [Feb 2012, p.68]
    • The Wire
    • 55 Metascore
    • 40 Critic Score
    There is a resounding thinness to Purple Naked Ladies and its finest moments sound like a collection of scratch tracks from a lost Erykah Badu/Neptunes session circa 1998. [Mar 2012, p.54]
    • The Wire
    • 55 Metascore
    • 70 Critic Score
    There is aimlessness on occasion--the mainly instrumental "OVNI" frankly just sounds like messing around--but for the most part the sense of glee in vigorous sound making for cranky and rebellious ends is infectious. [Aug 2010, p.86]
    • The Wire
    • 55 Metascore
    • 40 Critic Score
    A sense of cluelessness pervades these songs, as though constructed without considering why or for whom they were intended. [Jun 2014, p.51]
    • The Wire
    • 54 Metascore
    • 30 Critic Score
    What might have been an interesting exploration of Industrial Lite Pop gets spoiled time and again by badly rewired breakbeats and fussy electronic background chatter. [#201, p.66]
    • The Wire
    • 54 Metascore
    • 50 Critic Score
    Prophets Of Rage can’t help sounding a little male-menopausal even if lyrically the targets remain crucial and the trajectory remains ferocious thanks to the sheer undimmed timbre of Chuck’s meshrattling voice. [Sep 2017, p.55]
    • The Wire
    • 54 Metascore
    • 70 Critic Score
    A rewarding and self-consciously motley fest. [#227, p.60]
    • The Wire
    • 53 Metascore
    • 50 Critic Score
    He’s hung up on Jesus rather than pneumatic women. It’s hard to tell if that’s an improvement, but it doesn’t seem like a regression either. ... An album with zero fat, dense in at least three senses, two of them positive. [Dec 2019, p.60]
    • 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
    • 51 Metascore
    • 40 Critic Score
    There is no shortage of bad ideas on the second installment.... But this ugliness is anchored by a series of largely curatorial successes. [May 2013, p.68]
    • The Wire
    • 51 Metascore
    • 30 Critic Score
    Intermittently pretty, massively inconsequential. [#215, p.69]
    • The Wire
    • 50 Metascore
    • 70 Critic Score
    It takes a while to get on Friedberger's wavelength.... But his sheer love of a good tune is seductive. [Dec 2012, p.63]
    • The Wire
    • 50 Metascore
    • 40 Critic Score
    Chosen topics prove less crucial than his relentlessly tedious delivery. [Feb 2018, p.51]
    • The Wire
    • 48 Metascore
    • 20 Critic Score
    A deliriously infantile playhouse of sound. [May 2016, 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
    • 40 Metascore
    • 70 Critic Score
    Lil B's slower, more ruminative delivery here feels far braver for being more exposed and vulnerable. [Dec 2010, p.50]
    • The Wire