Uncut's Scores

  • Music
For 5,643 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 2.9 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Bon Iver
Lowest review score: 10 Let Me Introduce My Friends
Score distribution:
5,643 music reviews
    • 85 Metascore
    • 100 Critic Score
    Third is the most stunning, stark and superb Portishead album yet. [May 2008, p.84]
    • 85 Metascore
    • 80 Critic Score
    The entire album sounds as if it was made to be heard on a Fifties jukebox rather than a state-of-the-art super-audio digital system. [Sep 2002, p.112]
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    • 85 Metascore
    • 80 Critic Score
    A near-masterpiece.... It's hip and urgent, formal and exhilarated, everything guitar pop aspires to today. [Dec 2001, p.118]
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    • 85 Metascore
    • 90 Critic Score
    Mostly brilliant. [Aug 2005, p.88]
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    • 85 Metascore
    • 90 Critic Score
    Impossible Truth says more with six strings than most records manage with a thousand words. [May 2013, p.79]
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    • 85 Metascore
    • 100 Critic Score
    Staggeringly good.
    • 85 Metascore
    • 80 Critic Score
    Valentine is typically sturdy--piquant observation and low-key philosophy played against an impeccable musical backdrop. [Aug 2012, p.80]
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    • 85 Metascore
    • 80 Critic Score
    One small quibble, though: while it’s great to have documentation of the band’s early live sound (and in many ways the versions of the songs from Bleach are superior thanks to the sprightly energy), you don’t really get a sense of the sheer ferocity and electricity Nirvana generated in a tiny, cramped college bar.
    • 85 Metascore
    • 90 Critic Score
    The sound of a major talent gone major league. [Apr 2003, p.105]
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    • 85 Metascore
    • 90 Critic Score
    For all its muddied textures and sideways lurches, it is a magnificently engaging and expansive work. [Jul 2003, p.112]
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    • 85 Metascore
    • 80 Critic Score
    Helplessness Blues is as passionately desolate as anything on Closer, the record which documented Ian Curtis' romantic guilt and existential confusion. [Jun 2011, p.74]
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    • 85 Metascore
    • 80 Critic Score
    Confirms System Of A Down as one of the most innovative bands in modern rock. [Jun 2005, p.110]
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    • 85 Metascore
    • 80 Critic Score
    Edan's punch and broad vision distinguish him from the rest of the pack. [Jun 2005, p.110]
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    • 85 Metascore
    • 80 Critic Score
    By turns darker and more challenging than 2003's dazzling Electric Version. [Oct 2005, p.96]
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    • 85 Metascore
    • 90 Critic Score
    Benji is brutally sad, which may prove a deal-breaker for anyone who appreciated the comparatively light Among the Leaves, but it never feels gratuitous or exploitative. [Mar 2014, p.84]
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    • 85 Metascore
    • 80 Critic Score
    Running over with ideas. [Nov 2006, p.128]
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    • 85 Metascore
    • 100 Critic Score
    While what was lost with Smith is immeasurable, what he left was amazing, and New Moon is an appropriately spectacular monument. [Jun 2007, p.112]
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    • 85 Metascore
    • 80 Critic Score
    This is a record that genuinely sounds like nothing you have heard before. If you can rise to its portentous challenge... The Drift will prove to be a frightening, bewitching and rewarding experience. [Jun 2006, p.96]
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    • 85 Metascore
    • 70 Critic Score
    Refines their grandiose panoramics via electronic gurgles and glitches. [Jul 2003, p.111]
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    • 85 Metascore
    • 80 Critic Score
    Compared to so many noisemongers, TOD understand that restraint enables unleashed firepower to be exhilarating and awesome. [Apr 2002, p.111]
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    • 85 Metascore
    • 100 Critic Score
    Streetcore negotiates a resolution between the ethnocentric beats that hallmarked the two previous Mescaleros albums and the classic Clash sound that remained pivotal to Joe's live performances. [Nov 2003, p.110]
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    • 85 Metascore
    • 80 Critic Score
    With martial trumpets, cheap-sounding Farfisa organs and raspy baritone saxes, there are certainly nods toward Ethiopiques legends like Mulatu Astatke or the Wallas Band, tracks like "Rite Of The Ancients" and "Golden Dunes" add a rugged garage rock, and riff-based funk of "Black Venom" has a breakbeat that's just begging to be sampled by a bright hip hop producer. [Nov 2010, p.83]
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    • 85 Metascore
    • 80 Critic Score
    It is, at 78 tracks, quite a meal. But fine work lies within. [May 2011, p.96]
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    • 85 Metascore
    • 80 Critic Score
    This is Clark, now in his 72nd year, as the rumpled poet of American folk-blues, imparting these semi-brisk, string-driven tales with his own unique brand of sad, funny, dry wisdom.
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    • 85 Metascore
    • 80 Critic Score
    It is not only Wild Beats' finest album to date, but one of the best you're likely to hear all year. [Jun 2011, p.90]
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    • 85 Metascore
    • 100 Critic Score
    To devotees, however, it sounds very much like a second masterpiece: a different kind of epic to "Ys," and one with enough hooks and charms to ensnare at least a few Newsom agnostics. [Apr 2010, p.82]
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    • 85 Metascore
    • 80 Critic Score
    The band sounds re-energised by an idea of the city, the marketplace, pop ambition. [May 2005, p.102]
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    • 85 Metascore
    • 80 Critic Score
    While I’m not sure Veckatimest is the huge improvement on Yellow House that some blogs claim it to be, it’s unquestionably a lovely record and it deserves to be heard on land, sea, indoors and out.
    • 85 Metascore
    • 80 Critic Score
    This new 23-track compilation, cherry-picking the back catalogue from 1989's "Box Elder" through to 1999's "Terror Twilight," might help resolve the band's final enigma. [Apr 2010, p.102]
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    • 85 Metascore
    • 80 Critic Score
    Still, as a whole, Bitte Orca feels nothing less than a modern equivalent to Talking Heads' Fear Of Music or Scritti's Cupid & Psyche 85 –art-rock with intellectual rigour, borderless curiosity, and no fear of the mainstream. Pop, by any other name.