Tiny Mix Tapes' Scores

  • Music
For 2,608 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 Almost Killed Me
Lowest review score: 0 Born This Way
Score distribution:
2608 music reviews
    • 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.
    • 71 Metascore
    • 30 Critic Score
    Except for the admittedly awesome surf-rock instrumental 'Reflecting,' there’s nothing done on Circular Sounds that you can’t find done better on old vinyl, battered mixtapes, and (shudder) Counting Crows albums.
    • 71 Metascore
    • 20 Critic Score
    The subject matter on the indistinguishably titled Love, Angel, Music, Baby is painfully mainstream throughout.
    • 70 Metascore
    • 30 Critic Score
    Our Love To Admire isn’t even a contractual obligation to push off without care. But boy does it sound like one; a band phoning it in, out of steam, and running on a few lingering fumes and smoldering coals.
    • 70 Metascore
    • 20 Critic Score
    If Tegan and Sara were looking to release something which sounds like so much of the girl based rock, which can be found on TRL and on the radio waves, then they could most likely consider So Jealous a wild success.
    • 70 Metascore
    • 20 Critic Score
    Lantern comes off like Birchard wallowing in an uncharacteristic and blissful tedium.
    • 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).
    • 70 Metascore
    • 20 Critic Score
    Wilson continues to rehash southern California culture with increasingly less perspective, further eschewing the untamed adolescent aesthetic by including stuffy musical theater elements and a top-down point-of-view that’s more clumsy analysis than sincere memoir.
    • 70 Metascore
    • 30 Critic Score
    This game of literal musical chairs completely cripples The Most Serene Republic’s musical aims to the point that the album’s 40-minute runtime feels 20 minutes too long.
    • 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.
    • 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.
    • 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.
    • 69 Metascore
    • 20 Critic Score
    Rarely will one find a detractor when it comes to Cage’s sheer talent, but--thanks to sterile production and the replacement of hip-hop beats with rap-rock thrashings (“Beat Kids”) and corny, overdramatized hooks (“Captain Bumout”)--Depart From Me demonstrates an immaturity that will render Cage’s career difficult to reconcile.
    • 69 Metascore
    • 20 Critic Score
    As a whole, Black Ice is a mess of tired conventions shoved noisily at the listener, as though just getting them all on record was good enough.
    • 69 Metascore
    • 30 Critic Score
    What Will We Be is a better, more realized album, but it’s still a dud, filled with mediocre, half-composed songs and tediously unfocused songwriting.
    • 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.”
    • 68 Metascore
    • 30 Critic Score
    Sure, Nine Black Alps may be a more "genuine" concoction of Nirvana's formula, but how can this be considered revelatory or of interest when it comes across as so faceless?
    • 68 Metascore
    • 30 Critic Score
    This project was D.O.A. from the moment Ghost announced it a year back, and hip-hop fans should consider themselves lucky that there’s at least a few salvageable moments in Wizard of Poetry.
    • 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.
    • 68 Metascore
    • 30 Critic Score
    This loss of focus characterizes You Can’t Take It With You. While As Tall As Lions are affected deeply by the weight of the world, they’re too flustered to make sense of it all.
    • 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.
    • 68 Metascore
    • 30 Critic Score
    It's just annoying to listen to.
    • 68 Metascore
    • 20 Critic Score
    We’re given a de trop of horrid synthesizers, only to be outdone by worse choruses and banal refrains.
    • 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."
    • 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.
    • 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.
    • 67 Metascore
    • 20 Critic Score
    Even by Cornell's extremely shallow standards, this is unbelievably lazy production. [Joint review of both discs.]
    • 66 Metascore
    • 20 Critic Score
    It's pretty much all the same synth leads, bang-bang beats, and tired rhymes as every other Aftermath related project since The Eminem Show, which wasn't that great either.
    • 66 Metascore
    • 30 Critic Score
    This is easily the biggest disappointment of 2006.
    • 66 Metascore
    • 20 Critic Score
    The more you listen, the worse it gets.