Tiny Mix Tapes' Scores

  • Music
For 2,716 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: 68
Highest review score: 100 To Pimp A Butterfly
Lowest review score: 0 One Way Ticket To Hell... And Back
Score distribution:
2716 music reviews
    • 70 Metascore
    • 70 Critic Score
    Telepathe may not be superstars yet, but with Dance Mother--an album short in length but simmering over with ambition--they are certainly on the right track.
    • 82 Metascore
    • 80 Critic Score
    The entire first half of Eagle shows Callahan as a much more evolved and mature musician. He appears more comfortable expanding his musical space, and he exercises tasteful restraint with Beattie’s strings.
    • 73 Metascore
    • 60 Critic Score
    You Can Have What You Want is an insular recording, but it invites us even as it turns a shoulder toward us. And that insecurity is what makes it compelling.
    • 71 Metascore
    • 70 Critic Score
    The Future Will Come blooms incrementally, driven from the ground by the grittiest keyboard performance heard on a dance album in some time.
    • 67 Metascore
    • 40 Critic Score
    While definitely not an ideological Plan 9 soundtrack, it’s not an unearthly eyeful either.
    • 79 Metascore
    • 50 Critic Score
    If they decide to get serious about being a band and not just a project, maybe next record they could take us to their own personal woods, instead of just telling us about boring generalized woods.
    • 76 Metascore
    • 50 Critic Score
    The joy of "Fur and Gold" has vanished and taken some of Khan’s potential with it. This is request for their safe return, no questions asked.
    • 76 Metascore
    • 50 Critic Score
    The songs on Begone do not unfurl, nor do they climax.
    • 79 Metascore
    • 80 Critic Score
    The result is an exuberant, almost joyful record brimming with sly cynicism and a newfound fondness for whoa-oh refrains and handclaps.
    • 71 Metascore
    • 40 Critic Score
    These tracks are lifeless, and the multitude of sounds turns to mud, eventually eating itself.
    • 67 Metascore
    • 40 Critic Score
    Repo runs out of ideas so quickly it starts to appropriate its own ideas.
    • 79 Metascore
    • 60 Critic Score
    Vs. Children is a pleasant but uncaptivating album, and I’m inclined to believe, especially when confronted by his album’s deliriously enchanting highlights, that Ashworth is spreading himself a little thin at his current pace.
    • 72 Metascore
    • 40 Critic Score
    Helena Costas and Danger Mouse combine the former’s folk pop proclivities with the latter’s penchant for hip-hop and psychedelia, and the results are mostly awkward and cumbersome.
    • 68 Metascore
    • 60 Critic Score
    As enjoyable as it can be, Telekinesis! is only good enough to make you wish it were better.
    • 74 Metascore
    • 80 Critic Score
    Swift hasn’t put out a bad record yet, but The Atlantic Ocean is his most solid effort yet, his best attempt at managing the dark-lit record store in his head.
    • 68 Metascore
    • 30 Critic Score
    Its complete lack of anything unique just reeks of someone in the background, someone with a suit and a cigar, shaking hands with these fellows and telling them they’re “gonna blow up.”
    • 71 Metascore
    • 70 Critic Score
    It’s gimmicky on some level, and maybe formally confined, but the absurdity of these songs can’t mask their joy and evident catharsis.
    • 82 Metascore
    • 50 Critic Score
    From most bands, half of a great record would be an incredible accomplishment, but we’ve heard so much better from them.
    • 68 Metascore
    • 50 Critic Score
    Living Thing sits uneasily in some sort of odd pop no-man’s-land: it’s not quite smart nor fully-realized enough for the sad-sack indie set, and it’s too despairing and insightful for the pop set.
    • 81 Metascore
    • 80 Critic Score
    Juxtaposing foley noises, drum loops, and auxiliary click-clacking against minimalist, percussive synth lines and enormous swells of energy, the album clearly has a sonic template and a cohesion easily identifiable within the first three tracks.
    • 77 Metascore
    • 80 Critic Score
    Itâ??s the hyper-distinguishable leap from idiosyncratic-but-lovable to just-plain-lovable that makes Bromst--and Danny Boy himself--of increased import.
    • 73 Metascore
    • 60 Critic Score
    The album is still frequently guilty of some of the shortcomings that have plagued the band since "Picaresque."
    • 74 Metascore
    • 80 Critic Score
    Junior is about as sturdy as a disco album can be, which is a remarkable achievement itself. One deliberately-paced decade in and Royksopp are showing no signs of creative fatigue or self-cannibalization.
    • 82 Metascore
    • 90 Critic Score
    Crack the Skye has the feel of a classic metal album, steeped in impressive musicianship and stylized construction; it’s the kind of album you can repeatedly rock out to without ever feeling the desire to skip even one moment of its sprawling majesty.
    • 74 Metascore
    • 70 Critic Score
    The songs are neither here nor there, which, to me, is exactly what a cover should be. That the men and woman behind Yo La Tengo have created yet another fine album after 25 years of existence and 11 full-lengths is outstanding.
    • 72 Metascore
    • 60 Critic Score
    Essentially, Enemy Mine is a showcase for the talent of the three artists involved. But it lacks the conviction of Frog Eyes. It lacks the focus of Sunset Rubdown.
    • 71 Metascore
    • 70 Critic Score
    It’s a thoroughly digestible record, then, freed from the downstroke neuroses that basically defined Hot Snakes or the labyrinthine catharsiscore mounted and milked by Jehu.
    • 77 Metascore
    • 60 Critic Score
    Born Like This is simply not as forward-thinking as his best works.
    • 68 Metascore
    • 80 Critic Score
    The recording perfectly reflects the aesthetic of the world Jay has imagined, and both Calvin Johnson and Bob Schwenkler deserve praise for accurately materializing Slow Dance’s wintry, yet robust landscape.
    • 96 Metascore
    • 100 Critic Score
    Frequently labeled as a lecherous rogue or public provocateur, Gainsbourg is also one of the most important artists of the 20th century, and this masterpiece is the proof.