Uncut's Scores

  • Music
For 5,726 reviews, this publication has graded:
  • 51% higher than the average critic
  • 3% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 2.8 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 The Libertines
Lowest review score: 10 Let Me Introduce My Friends
Score distribution:
5,726 music reviews
    • 94 Metascore
    • 100 Critic Score
    Though recorded during the same extended sessions, this archival LP is the polar opposite of its fraternal twin: big, bold, vibrantly coloured and laced with sweeping chorus hooks and towering middle eights. In a word, spectacular.
    • 77 Metascore
    • 100 Critic Score
    Josh Pearson has gone there so we don't have to--we should be grateful he's returned to tell the tale. [Apr 2011, p.72]
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    • 96 Metascore
    • 100 Critic Score
    Folk-rock masterpiece of quietly influential Northern miserabilism. [May 2011, p.80]
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    • 86 Metascore
    • 100 Critic Score
    Fully realised in its ambition, Bon Iver possesses all the austere beauty and understated emotiveness of its predecessor. [Jul 2011, p.81]
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    • 93 Metascore
    • 100 Critic Score
    R.E.M. were already walking head and shoulders taller than most by now, but Life's Rich Pageant was nevertheless a startlingly great leap forward. [Aug 2011, p.102]
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    • 88 Metascore
    • 100 Critic Score
    Excellent and indispensable. [Sep 2011, p.94]
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    • 100 Metascore
    • 100 Critic Score
    Gaye's music was on the move, but it never moved quite like What's Going On: still seraphic, still turbulent. [Aug 2011, p.95]
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    • 82 Metascore
    • 100 Critic Score
    Something's happening wherever you turn on tracks that are dense with detail and brilliant accumulations of incident, but never overwrought or too busy, sheer grace their common link. [Sep 2011, p.80]
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    • 92 Metascore
    • 100 Critic Score
    In the transition from imitator to originator, the old boy has made one of his best albums ever. [Oct 2011, p.83]
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    • 81 Metascore
    • 100 Critic Score
    It's this insistence on resolutely following her instincts that makes this record so lustily appealing from top to bottom. [Nov 2011, p.95]
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    • 96 Metascore
    • 100 Critic Score
    The Smile Sessions fits into no present-day category, context or franchise. [Nov 2011, p.105]
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    • 93 Metascore
    • 100 Critic Score
    The proof is in the music; it sounds juts great. [Jan 2012, p.98]
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    • 99 Metascore
    • 100 Critic Score
    Invoking and evoking just about all the spontaneity and scariness that you'd want from rock'n'roll, Tago Mago can offer experiences as spellbinding as the sequence that originally comprised side one ("Paperhouse", "Mushroom", "Oh Yeah"), or can be so extreme that you feel yourself under attack by maniacs.
    • 95 Metascore
    • 100 Critic Score
    Starts loud, alienated and proudly rockist, and stays right there. [Jan 2012, p. 93]
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    • 91 Metascore
    • 100 Critic Score
    Every track is a precision-tooled triumph. [Mar 2012, p.81]
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    • 93 Metascore
    • 100 Critic Score
    LA Woman is at times a raw and bluesy affair, but still one of exquisite taste and judgement. [Feb 2012, p.84]
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    • 93 Metascore
    • 100 Critic Score
    Loveless holds it own as one of the great rock albums, period. [Jun 2012, p.90]
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    • 80 Metascore
    • 100 Critic Score
    A brilliant album. [Aug 2012, p.80]
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    • 83 Metascore
    • 100 Critic Score
    Tempest is in many respects the most far-reaching, provocative and transfixing album of Dylan's later career.
    • 83 Metascore
    • 100 Critic Score
    The production is beautifully OTT, with everything stretched and digital, zeroes and ones working binary overtime to warp some of Herrema and Hagerty's greatest anthems into robotic rock mantras. [Feb 2013, p.94]
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    • 99 Metascore
    • 100 Critic Score
    Hills and valleys, warts and all, Complete Columbia is simply a singular, staggering body of work, throwing down challenges in all directions.
    • 95 Metascore
    • 100 Critic Score
    Guthrie's work here gives birth to social conscience in pop culture, and this 157-track set, gets it all down in the context it deserves. [Dec 2013, p.82]
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    • 87 Metascore
    • 100 Critic Score
    It's Cash, at the top of her game as a singer, who carries the day. [Jan 2014, p.65]
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    • 81 Metascore
    • 90 Critic Score
    It's all done with such obvious love and affection and literate craft that Rouse has gone and made one of the albums of the year. Even if the year is 1972. [Oct 2003, p.114]
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    • 88 Metascore
    • 90 Critic Score
    Not for the faint-hearted, Damien Jurado is a habit which won't necessarily bring joy to the listener. But once acquired, you will find it hard to kick. [Apr 2003, p.106]
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    • 76 Metascore
    • 90 Critic Score
    A considerable advance on predecessor 604.... This is sublime, subtle, subversive stuff. [Dec 2002, p.150]
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    • 88 Metascore
    • 90 Critic Score
    Songwriting of the highest calibre. [Sep 2003, p.104]
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    • 84 Metascore
    • 90 Critic Score
    A brilliant fusion of no-wave disco, dub-punk, early Factory aesthetics and post-rock technique. [Dec 2002, p.134]
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    • 66 Metascore
    • 90 Critic Score
    This is audaciously modern in its textural absorption of outre sounds from the 21st-century dance underground. [Dec 2002, p.136]
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    • 77 Metascore
    • 90 Critic Score
    Frantic is packed with potential singles, as if he's decided it's not crime to enjoy himself, to embrace foolish things earthier than Avalon. This is classic Ferry, but full of surprises. [May 2002, p.92]
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