Uncut's Scores

  • Music
For 5,998 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 2.6 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Doolittle 25
Lowest review score: 10 Let Me Introduce My Friends
Score distribution:
5,998 music reviews
    • 73 Metascore
    • 60 Critic Score
    The songs here reveal their author's love of The Beattles, Fleetwood Mac, Paul Simon, Elton John et al, and confirm Newman's growing status as college rock's most tasteful magpie. [Apr 2009, p.91]
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    • 70 Metascore
    • 60 Critic Score
    The pair sometimes get slow and mellow, but the dominant tone is better expressed by the brattish beat explosion of 'Daylight,' the madly bleeping 'Don't Slow Down' or the clatteringly chaotic 'Cutdown.' [Sep 2009, p.86]
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    • 62 Metascore
    • 60 Critic Score
    Grainger's first solo outing swaps the lascivious intensity of his former outfit for a rakish new wave ramalam somewhere between Cheap Trick and The Strokes' "First Impression of Earth." [Apr 2009, p.86]
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    • 64 Metascore
    • 60 Critic Score
    A solo album that sounds like a series of song sketches. [Feb 2009, p.89]
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    • 71 Metascore
    • 60 Critic Score
    Heady and infused with whimsy, their second full-length flows effortlessly from dreamy girl-group pop to electro-bossa nova. [Feb 2009, p.76]
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    • 70 Metascore
    • 60 Critic Score
    A little may go a long way with Telepathe, but there's enough variety here to reward repeated listening.
    • 58 Metascore
    • 60 Critic Score
    Still mourning the loss of The Bravery? Look no further. [Feb 2009, p.85]
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    • 74 Metascore
    • 60 Critic Score
    Gutter Tactics lets a little light in, though, the glimmering, shoegazey 'We Lost Sight' being the surest glimpse yet of redemption within the gloom. [Mar 2009, p.82]
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    • 72 Metascore
    • 60 Critic Score
    This is a bold howl for attention from the backwoods of folktronica. [Apr 2009, p.89]
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    • 61 Metascore
    • 60 Critic Score
    It sees them adapt while retaining their street credibility. [Nov 2008, p.117]
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    • 68 Metascore
    • 60 Critic Score
    This is one of the heavier and more accessible entries in their labyrinthine discography. [Jan 2009, p.102]
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    • 65 Metascore
    • 60 Critic Score
    His debut as a solo artist is no grand break from past form, while confirming that age shall not wither him. [Feb 2009, p.101]
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    • 58 Metascore
    • 60 Critic Score
    Some tracks feel throwaway, but goodtime vibes prevail. [Apr 2009, p.80]
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    • 60 Metascore
    • 60 Critic Score
    His own production work has been inconsistent. [Feb 2009, p.78]
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    • 69 Metascore
    • 60 Critic Score
    Kweller keeps his melodies clean and his arrangements simple, frequently teaming pedal steel or dobro with his acoustic guitar. [Mar 2009, p.91]
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    • 71 Metascore
    • 60 Critic Score
    The beauty of those opening moments suggests that Condon's future really does lie in soundtracks, where you can imagine him collaborating with and finding inspiration in the baroque visual inventions of an Anderson or a Gondry, and where his restless musical wandererings might yet chance upon the truly undiscovered countries of the imagination.
    • 69 Metascore
    • 60 Critic Score
    Unusually for him, his 10th album sounds like a collection of Chili Peppers demos. [Feb 2009, p.82]
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    • 62 Metascore
    • 60 Critic Score
    There's some good stuff here. [Mar 2009, p.92]
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    • 68 Metascore
    • 60 Critic Score
    A familiar sound predominates: an impressive fanfare for a royal procession that never quite arrives. [Apr 2009, p.78]
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    • 74 Metascore
    • 60 Critic Score
    Cabic’s limited vocal powers are part of the problem. His dusty delivery is allusive when wrapped in instrumental swirls--asked to front up a song, it sounds merely flat.
    • 77 Metascore
    • 60 Critic Score
    In Gareth Liddiard, the quartet have a singer-songwriter and guitarist of dark intensity, and his vivid narratives draw on the landscape and character of his homeland in a delicately melancholic way. [May 2009, p.85]
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    • 74 Metascore
    • 60 Critic Score
    This is the polite, less freaky end of modern American indie folk: earnest, well-intentioned, Obama-fundraising, National Public Radio-supporting... and cumulatively a little dull.
    • 68 Metascore
    • 60 Critic Score
    Lambs Anger zig-zags from the sublime to the silly. [Feb 2009, p.89]
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    • 72 Metascore
    • 60 Critic Score
    The efforts are inconsistent, though, and his affinity with the fun and doom of '50s R'n'R is mostly lost to the demands of commercial bombast. [Jun 2009, p.88]
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    • 69 Metascore
    • 60 Critic Score
    Ferree's insistence of shoving everything right up front in the mix, all the time, becomes wearing, but you can't fault his enthusiasm. [Jan 2010, p. 110]
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    • 76 Metascore
    • 60 Critic Score
    Their sound is an accident born of naivety, but their unabashed love for '80s indie is unmistakeable. [Feb 2009, p.89]
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    • 61 Metascore
    • 60 Critic Score
    'Half Mast' and the 'Without You' are exquisite pangs of millionaire's melancholy, even if there aren't enough of them to sustain a whole album. [Mar 2009, p.85]
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    • 67 Metascore
    • 60 Critic Score
    Though Lucky One is his first collection of orginal material in seven years, it's still rooted firmly in Malo's familiar enthusiasms. [Apr 2009, p.91]
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    • 76 Metascore
    • 60 Critic Score
    Despite some interesting -co-writes with the likes of Walter Becker, it never achieves lift-off. [Apr 2009, p.82]
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    • 76 Metascore
    • 60 Critic Score
    The band push their mathematical lines into some great perverse shapes that occasionally remind of Fugazi, and even Yes. [May 2009, p.85]
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