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 Foundling
Lowest review score: 10 Let Me Introduce My Friends
Score distribution:
5,726 music reviews
    • 87 Metascore
    • 80 Critic Score
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    The finished result occupies land between Young Marble Giants' "Colossal Youth" and Tricky's "Maxinquaye": not the equal of either of those landmark albums, maybe, but certainly cut from the same cloth. [Sep 2009, p.89]
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    • 87 Metascore
    • 80 Critic Score
    Silly and overblown, but wittily, brilliantly so. [Jul 2013, p.73]
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    • 87 Metascore
    • 60 Critic Score
    While there is much here to admire, at its overblown worst Neon Bible is one of those records that takes itself too seriously to be taken seriously. [Apr 2007, p.90]
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    • 87 Metascore
    • 80 Critic Score
    The most common description of this much-discussed album over the past few months is that YHF is Americana's Kid A. In truth, it's more successful than that. [May 2002, p.112]
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    • 87 Metascore
    • 100 Critic Score
    You won't hear a more humane, moving or mysterious record all year. [Album of the Month, Oct 2003, p.110]
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    • 87 Metascore
    • 60 Critic Score
    Thankfully, Phrenology is more therapy than quack science. [Feb 2003, p.86]
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    • 87 Metascore
    • 80 Critic Score
    Theirs remains a stubbornly extreme sound, although Celestial Lineage finds new ways to combine heaviness with solemn beauty. [Oct 2011, p.86]
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    • 87 Metascore
    • 80 Critic Score
    Nile's river of song runs as deep as it's wide. [Jul 2013, p.80]
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    • 87 Metascore
    • 80 Critic Score
    If Funeral was organic, and Neon Bible was force-fed, The Suburbs makes do with being merely delicious. (And a little wistful, wounded, and wise.) [Sep 2010, p.80]
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    • 87 Metascore
    • 80 Critic Score
    Bob Ludwig's remaster job adds fine detail, and a second CD collects 18 tracks, mostly diverting. [Jan 2012, p.97]
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    • 87 Metascore
    • 80 Critic Score
    It's the record fans of her explosive live shows always hoped she would make and a career highlight. [May 2013, p.79]
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    • 87 Metascore
    • 80 Critic Score
    Hones the Southern harmonies and guitar-pickin' crosstalk of the brothers Good. [Nov 2004, p.116]
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    • 87 Metascore
    • 80 Critic Score
    It's all subtly regal, abetted by banjo, fiddle and mandolin textures. [Nov 2013, p.71]
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    • 87 Metascore
    • 80 Critic Score
    Her songwriting here... demonstrates a depth and majesty previously absent in her work. [Mar 2007, p.82]
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    • 87 Metascore
    • 80 Critic Score
    Stevens' strumming often has an unworldly quality that transcends folk archetypes. [Apr 2004, p.92]
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    • 87 Metascore
    • 80 Critic Score
    She twangs the boundaries of taste both lyrically ("Take me on a genocide tour/Take me on a trip to Darfur") and musically. But a knockout's a knockout, however messy the bout.
    • 87 Metascore
    • 80 Critic Score
    The expanded set illustrates the inventiveness of their playing and the original template of their sound was a strong one--these were louder protest songs for a louder time. [Feb 2013, p.94]
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    • 87 Metascore
    • 90 Critic Score
    An album of hope and humour and beauty, Phantom Power is frequently as deep and mysterious as the title intimates. [Aug 2003, p.100]
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    • 87 Metascore
    • 90 Critic Score
    Musically, this is probably the richest collection of songs Vlautin has written.
    • 87 Metascore
    • 80 Critic Score
    The chronological sequencing, kicking off with the delightfully sloppy "Gardening At night" from the "Chronic Town" EP, charts a course from indie college jangle to pensive AOR, and tracks fro their latter days on the IRS label sparkle with eloquence and grandeur. [Jan 2012, p.96]
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    • 86 Metascore
    • 80 Critic Score
    Let England Shake is the sound of someone as maddened as they are enthralled, aglow with anger and passion.
    • 86 Metascore
    • 90 Critic Score
    Rarely has anyone making such exciting and fashionable music been so unapologetic about being mature, too. [Apr 2007, p.97]
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    • 86 Metascore
    • 90 Critic Score
    An entirely ravishing aesthetic experience. [Jun 2014, p.76]
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    • 86 Metascore
    • 90 Critic Score
    An endlessly fascinating maze of sound.... This decade's Endtroducing..., possibly. [Jun 2003, p.98]
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    • 86 Metascore
    • 80 Critic Score
    She has fashioned a still eccentric but bracingly focused collection of songs that blend her acrobatic and soulful Afro-jazz vocals with a collage music that defies any attempts at categorization. [May 2011, p.96]
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    • 86 Metascore
    • 80 Critic Score
    Each song works brilliantly in isolation, making this a treasure trove of Wyatt’s finest work ever.
    • 86 Metascore
    • 100 Critic Score
    Where Manu Chao might have smoothed off some of the rough edges during his spell as co-producer, this album positively celebrates those grungier moments.
    • 86 Metascore
    • 80 Critic Score
    Worth catching. [Jun 2007, p.87]
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    • 86 Metascore
    • 90 Critic Score
    Are We There's subtler songs point to a painfully well-honed understanding of what drives and degrades long-term love. [Jun 2014, p.70]
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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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