Tiny Mix Tapes' Scores

  • Music
For 2,357 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 The Runners Four
Lowest review score: 0 Sex Dreams And Denim Jeans
Score distribution:
2,357 music reviews
    • 59 Metascore
    • 30 Critic Score
    The thick and poorly affected patois, the overproduction, and the sheer terribleness of the songs on Trapped Animal seem, at best, a huge dent in The Slits’ otherwise immaculate armor.
    • 57 Metascore
    • 30 Critic Score
    Raditude is not a great album or even an interesting one.
    • 62 Metascore
    • 30 Critic Score
    For a solo artist obsessed album-in and album-out with delivering a product alien to the mothership, this move represents a regression, a willingness to tread ground he's covered, almost note-for-note.
    • 69 Metascore
    • 30 Critic Score
    LaValle’s been trading in spitshined tonal conventions and vacuum-sealed beauty for quite some time now, and this might well be his best effort at putting it to record. But there are already three Album Leaf LPs that do this exact same thing, and the prospect of him doing that thing slightly better simply fails to excite.
    • 61 Metascore
    • 30 Critic Score
    Only toward the end of the record does BJTM finally let up, delivering a couple relaxed and half-realized shoegaze jams (“Super Fucked” and “Our Time”) that come close to being good. Sadly, it is all for naught.
    • 63 Metascore
    • 30 Critic Score
    The sound of Stigmata is grayed and stale--reaching, perhaps, for 18th-century Baroque, but instead winding up stuck in a rusty soundcard from 1998.
    • 55 Metascore
    • 30 Critic Score
    Unfortunately, two good songs do little to temper the overall disappointment with this new direction, and having thoroughly enjoyed Take Me to the Sea, it really pains me to denigrate its successor.
    • 63 Metascore
    • 30 Critic Score
    So let's put it simply: With Recovery, Eminem has misunderstood everything that once made him great as thoroughly as anyone else ever has.
    • 79 Metascore
    • 30 Critic Score
    Frustrated fanboy headscratching aside, the point is simple: All Day is a misstep of the worst kind, wherein Gillis' craft devolves from transformative to parasitic.
    • 64 Metascore
    • 30 Critic Score
    While I'm certain that this mode will suit Moore in his future indie folk material that is sure to come, In the Cool of the Day naturally goes from inoffensive to mildly irritating fairly quickly through repeated spins.
    • 61 Metascore
    • 30 Critic Score
    Never mind the cultural appropriation bollocks, here's ethnotronic industrial pop.
    • 71 Metascore
    • 30 Critic Score
    The band's tight, and every song contains at least a few interesting musical ideas, but the album as a whole comes across less like a creative mess and more like a stoned-battle-of-the-bands gone wrong.
    • 72 Metascore
    • 30 Critic Score
    Where The Excitement of Maybe shines--like a harvest moon--is in production, composition, and musicianship, but these alone aren't enough to sustain the distinctive voice Cervenka has spoken in so boldly, particularly when they're employed in the service of pastiche.
    • 57 Metascore
    • 30 Critic Score
    There is no sense of nostalgia here, only pure awkwardness and honest decadence that take the definition of 'kitsch' to unexpected artistic levels.
    • 69 Metascore
    • 30 Critic Score
    Audio, Video, Disco is simply too unfocused, too half-baked, and too busy hiding its inadequacies with superficially interesting window-dressing to fit in either of those settings--or any other.
    • 60 Metascore
    • 30 Critic Score
    Most of the songs here aren't even good enough to be considered for a knockoff commercial targeted at the "indie-inclined" twenty-something demographic.
    • 71 Metascore
    • 30 Critic Score
    Imperial Teen sound here like they're trying to squeeze some new flavor out of a chewed-up piece of gum.
    • 70 Metascore
    • 30 Critic Score
    Dry Land Is Not a Myth fails for two reasons that could have been easily corrected: (1) rock albums, especially rock albums purporting to be "psychotropic," should never be produced by artists whose primary working medium is the remix, and (2) Church's weird, pinched vocal delivery, which the editor remedies with a variety of fixes characteristic of overproduced music (see point 1).
    • 78 Metascore
    • 30 Critic Score
    Sun
    Its songs are mostly amalgams of tired pop music tropes/techniques and trite realizations
    • 55 Metascore
    • 30 Critic Score
    Maybe we're supposed to love this album because it's the musical equivalent of a KFC Double-Down, filled with fancy co-stars and production, deep-fried, and devoid of any intellectual or nutritional value.
    • 54 Metascore
    • 30 Critic Score
    Your willingness to stick with McPhun from here on out depends entirely how much you enjoy listening to music that sounds like a meticulous recreation of 80s dance pop.
    • 51 Metascore
    • 30 Critic Score
    While the tension and confusion have passed, we are unfortunately left with a pretty disappointing piece of work.
    • 73 Metascore
    • 30 Critic Score
    When it’s watered down by this much sneakerhead aestheticism, it becomes hard to even hear the culture-shaking subversion that lurked in the sounds of Machinedrum’s influences.
    • 61 Metascore
    • 30 Critic Score
    Sometimes, like on the outstanding "Wrecking Ball," the emotion calcifies into catchy, mature hooks, propelled forth by Cyrus' oft-underestimated vocal heft. Then again, the breakup also produced "FU," a dismally adolescent electro-soul duet with French Montana.
    • 72 Metascore
    • 30 Critic Score
    It’s “Lost Boys and Girls Club,” “Cult of Love,” and “Trouble Is My Name” (“Trouble is my name/ Is it your name too?”), endless clichés in songwriting, narrative, subject, and sound.
    • 81 Metascore
    • 30 Critic Score
    So, largely unimaginative arrangements, flat delivery, a surfeit of vague ecological metaphors that wash like spray on the rocks (you can have that one for free, Mr. Hansen), and a lack of any sense of connection, of need, of reality.
    • 77 Metascore
    • 30 Critic Score
    Food is another sad testament to how the squares have won and how we’re all likely to capitulate at one point or another to the dictates of the majority.
    • 56 Metascore
    • 30 Critic Score
    Forgettable melodies and arrangements abound on the mid-tempo tracks that comprise the bulk of Moonshine.
    • 73 Metascore
    • 30 Critic Score
    Sometimes Avi Buffalo’s entrance into the gauntlet of the undisguised voice leads to a pretty song or two, maybe a moment of blissful pop; but more often than not, the songs whimper without much intelligible emotion.
    • 57 Metascore
    • 30 Critic Score
    Minus a few semi-refreshing exceptions that see Brian Wilson team up with old bandmate Jardine--is more or less artistically bankrupt, failing as it largely does to communicate or emotionalize anything of Wilson’s concrete being or of the 21st century in which he now finds himself.