Uncut's Scores

  • Music
For 6,334 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 2.5 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Fully Qualified Survivor
Lowest review score: 10 Let Me Introduce My Friends
Score distribution:
6,334 music reviews
    • 85 Metascore
    • 70 Critic Score
    These songs, dehydrated after 50 years, sound bright and timeless. [Jun 2012, p.97]
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    • 85 Metascore
    • 90 Critic Score
    Where Ryan Adams replicates old records, this is something new. [Album of the Month, Feb 2005, p.72]
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    • 85 Metascore
    • 80 Critic Score
    Not bad for four young men barely out of their teens playing rowdy, undiluted hardcore. That has a lot to do with the excellence of their debut album. [Jun 2011, p.85]
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    • 85 Metascore
    • 80 Critic Score
    As ever, Simon's work is a strange mix of easy and uneasy listening--it's balm, but it leaves an itch. [May 2011, p.74]
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    • 85 Metascore
    • 80 Critic Score
    Musically, too, he became far more adventurous than both Roxy Music and the New Romantic legions who echoed the original glam-rock innovations, his work paralleling that of questing artists like Scott Walker and Talk Talk.
    • 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
    • 90 Critic Score
    This set is a good primer for Cooder’s soundtrack work.
    • 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
    There are many wise, deceptively simple insights on this wonderful album. [Jun 2015, p.82]
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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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