Tiny Mix Tapes' Scores

  • Music
For 2,624 reviews, this publication has graded:
  • 42% higher than the average critic
  • 2% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 4.5 points lower than other critics. (0-100 point scale)
Average Music review score: 67
Highest review score: 100 Histoire de Melody Nelson
Lowest review score: 0 America's Sweetheart
Score distribution:
2624 music reviews
    • 68 Metascore
    • 20 Critic Score
    If there is a compliment to be paid to Hurley, it is that the band refrains from delving into the sort of WTF territory they've explored of late.
    • 77 Metascore
    • 20 Critic Score
    No, at best, The King Is Dead is a patchwork of genre exercises, giving listeners little more than a chance to play "spot the influence." But even then it fails, for it taps only a very shallow stream of tradition, focusing on a series of folk facsimiles from the 70s and 80s that never quite add up to the real thing.
    • 75 Metascore
    • 20 Critic Score
    Bibio aims to express an exquisitely blurry mind-state; instead, his lack of focus conjures only a musty shadow of the varied, sportive electro-pop album he strains to create.
    • 66 Metascore
    • 20 Critic Score
    The more you listen, the worse it gets.
    • 45 Metascore
    • 20 Critic Score
    Lulu is a joyless mess, a grim, humorless record with no notion of when to say "when."
    • 68 Metascore
    • 20 Critic Score
    I hate to say it, but Love at the Bottom of the Sea is such a drag: a damp and dreary album, drowning in bad faith and bad jokes.
    • 79 Metascore
    • 20 Critic Score
    It's hard to paint this as anything other than what it is: a professional-sounding album of radio-friendly pop. It's as bad as that sounds.
    • 64 Metascore
    • 20 Critic Score
    This album is so soaked in self-pity that a track called "Madness" seems like a given. "Stone Froze Mascot" is a bad metaphor in and of itself - more self-pity, more of the same. Sound-wise, the album could use work, too.
    • 68 Metascore
    • 20 Critic Score
    Lysandre is full of problems/problematic things, and most of it rests on one of the album's biggest problems: the insistent, ever-present "me."
    • 69 Metascore
    • 20 Critic Score
    The majority of tunes on offer here do very little to build on the ideas and panache exposed on Soft Control.
    • 38 Metascore
    • 20 Critic Score
    They obliterate any subtle expression or connection to the listener beyond low-order thinking--the band just bludgeons the listener with generic narcissistic drivel.
    • 70 Metascore
    • 20 Critic Score
    Lantern comes off like Birchard wallowing in an uncharacteristic and blissful tedium.
    • 48 Metascore
    • 20 Critic Score
    The other 14 contributions barely stand apart from one another, a rushed bile of the same sounds being used over and over again by unidentifiable producers, with only Bonobo delivering a track whose atmosphere extends beyond that of gimmicky tie-in music territory.
    • 41 Metascore
    • 10 Critic Score
    Like all Nickelback releases before it, All The Right Reasons was made for all the wrong ones and follows all the formulas and clichés you should be bored to death of by now.
    • 58 Metascore
    • 10 Critic Score
    The album is essentially a tried-and-true big-budget rock album gimmick writ large: smother the listeners in a minute or so of formless noise (using the artiest guitar and keyboard settings imaginable, of course), and then snap them out of the doldrums with the sweep of a heroic chord progression.
    • 67 Metascore
    • 10 Critic Score
    All of this is borderline insulting to its target audience, myself included. For a moment in “Brand New,” Williams lets us see his hand, and it subtly reveals how incredibly marketed and capital-centric this album is.
    • 80 Metascore
    • 10 Critic Score
    The only crime Lazaretto commits that wasn’t already covered by his misogynistic solo debut, Blunderbuss, is being really boring.
    • 59 Metascore
    • 0 Critic Score
    The music is appallingly predictable, unoriginal, uninspiring, boring, over-polished, and vain.
    • 68 Metascore
    • 0 Critic Score
    So the mission statement of this CD is clear; this is a product made by the emotionally and culturally sterile for people who either have no conception of love, depression, or any other emotional state outside of pop culture cliché, or those so desperate for entertainment that they would deceive themselves into thinking the feckless chicanery of this masturbatory ensemble resembles soulful expression in any way.
    • 62 Metascore
    • 0 Critic Score
    The tracks are disaffected exercises in barren repetition and arrhythmic progressions that feel truly tossed off (improvised would be an insult to people who are actually accomplished at that) and indulgently "arty" in the worst sense of the word.
    • 48 Metascore
    • 0 Critic Score
    I want to say “you’ve gotta hear it to believe it,” but there’s too much good music out there to waste your time on the bad--let alone the bad that knows it’s bad.
    • 71 Metascore
    • 0 Critic Score
    Beyond all else, perhaps, think of this zero as the massive bedazzled orifice out of which our heroine has spawned a new era of popular culture.
    • 62 Metascore
    • 0 Critic Score
    I have done my best to place the album, as a series of utterances, in its agony and vacuity.