Uncut's Scores

  • Music
For 5,870 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 2.7 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Loveless [Reissue]
Lowest review score: 10 Let Me Introduce My Friends
Score distribution:
5,870 music reviews
    • 70 Metascore
    • 100 Critic Score
    This is surprisingly, refreshingly, "modern" music. [Mar 2002, p.104]
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    • 77 Metascore
    • 100 Critic Score
    Like 1999's The West, The Civil War negotiates a fragile entente between Americana and electronica, but does so on a bigger, constantly astonishing scale. [Oct 2003, p.122]
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    • 71 Metascore
    • 100 Critic Score
    This is the pop album of 2003 which everyone else will have to beat. [Jul 2003, p.124]
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    • 92 Metascore
    • 100 Critic Score
    This year's 'Stankonia.' [Sep 2001, p.96] [Review of UK version]
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    • 74 Metascore
    • 100 Critic Score
    Dear Heather is Cohen's highest tide yet, his most exquisite marriage of song and poetry and ambiguous grace. [Nov 2004, p.114]
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    • 89 Metascore
    • 100 Critic Score
    It's hard to believe there will be a better record than Last Exit released this year. [Jul 2004, p.102]
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    • 89 Metascore
    • 100 Critic Score
    It's the freshest, most exciting and far-reaching left-field album in years. [Jun 2003, p.102]
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    • 81 Metascore
    • 100 Critic Score
    A Ghost Is Born feels like a band learning to be spontaneous and unencumbered, and coming up with their most engaging album yet. [Album of the Month, Jul 2004, p.94]
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    • 92 Metascore
    • 100 Critic Score
    Laced with enough blue-eyed longing to make the most diehard Gram Parsons fan weep with wonder and the sort of verbal acuity that would give even Dylanologists pause for thought, Elephant is where the tabloid phenomenon of summer 2001 prove they are no flash in the pan by making a truly phenomenal record. [May 2003, p.94]
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    • 89 Metascore
    • 100 Critic Score
    [A] breathtaking, virtually flawless album. [Sep 2002, p.104]
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    • 67 Metascore
    • 100 Critic Score
    So wild and stripped-down it makes The White Stripes sound like Yes. [Jan 2004, p.102]
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    • 85 Metascore
    • 100 Critic Score
    Doves have delivered, with honesty and affection. All other guitar bands this year will seem like a scratchy sideshow. [Jun 2002, p.110]
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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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    • 80 Metascore
    • 100 Critic Score
    In ditching the band ethic, they've tapped into the finest folk gothic traditions of death, suffering, misery and hardship and fashioned a paradoxically uplifting, transformative record of extraordinary power. [Album of the Month, Jul 2003, p.110]
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    • 79 Metascore
    • 100 Critic Score
    Another mature masterpiece from America's finest. [Album Of The Month, March 2002, p.94]
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    • 83 Metascore
    • 100 Critic Score
    It's a record of passion and richness, with a hoard of memorable songs, that demands to be treated the equal of its inspirations. [Sep 2003, p.102]
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    • 65 Metascore
    • 100 Critic Score
    All that is good in hip hop is here. [Jul 2003, p.111]
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    • 83 Metascore
    • 100 Critic Score
    In just over 35 minutes, the Bonnie Prince's mastery of form, blend of gentle awe and trembling sweetness are distilled to their essence. [Album of the Month, Feb 2003, p.74]
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    • 63 Metascore
    • 100 Critic Score
    The whole thing tingles: you're in the presence of diamond-hard greatness. [Nov 2004, p.110]
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    • 86 Metascore
    • 100 Critic Score
    Under the direst circumstances, he has painted his masterpiece. [Album of the Month, Sep 2003, p.96]
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    • 87 Metascore
    • 100 Critic Score
    It's the most extraordinary smorgasbord of styles, moods, modes, a far more daring, jolting record than 2001's Essence. [Album of the Month, May 2003, p.88]
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    • 77 Metascore
    • 100 Critic Score
    Arguably, not since early Costello has a British solo artist combined such bare-arsed soulfulness with such corrosively perceptive humour. Quite something. [Album of the Month, Nov 2002, p.112]
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    • 84 Metascore
    • 100 Critic Score
    The Fine Art of Self Destruction is one of those amazing records that appear seemingly out of nowhere... that within a couple of plays sound already like something you've been listening to for years. [Album of the Month, Dec 2002, p.128]
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    • 76 Metascore
    • 100 Critic Score
    Whereas the fucked-up, punk attitude [Ryan] Adams feigned on Rock'n'Roll was based on little more than pique, The Heat is all genuine passion, brimming with energy, anger and great tunes sandwiched between the dense guitars. [Jul 2004, p.114]
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    • 82 Metascore
    • 100 Critic Score
    A brave and beautiful album of humanity, hurt and hope from the songwriter best qualified to speak to and for his country.... A towering achievement. [Album of the Month, Sep 2002, p.102]
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    • 85 Metascore
    • 100 Critic Score
    Fever To Tell is, quite simply, magnificent.... This is as revitalising a debut as could be hoped for. [May 2003, p.92]
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    • 88 Metascore
    • 100 Critic Score
    Almost every tune sounds like a hit. [Dec 2001, p.108]
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    • 80 Metascore
    • 100 Critic Score
    May well come to be regarded as the best British rock album since OK Computer. [Sep 2002, p.118]
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    • 79 Metascore
    • 100 Critic Score
    By far the strongest collection of songs the band have ever assembled. [Nov 2003, p.114]
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    • 78 Metascore
    • 100 Critic Score
    Much of Suicaine Gratifaction sounded like it had been written in a mood of morose introspection, but Come Feel Me Tremble is brazenly exclamatory. [Jan 2004, p.102]
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    • 72 Metascore
    • 100 Critic Score
    I doubt there'll be many better albums released this year. [Jun 2003, p.98]
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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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    • 68 Metascore
    • 100 Critic Score
    Fly Or Die has more in common with 10cc and XTC than it does Common.... Prog-pop album of the year. [Jun 2004, p.91]
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    • 90 Metascore
    • 100 Critic Score
    Waits does nothing predictable here, and the structure of even the most forlorn tear-jerker is ambitious and avant-something-or-other. [Co-Album Of The Month, June 2002, p.106]
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    • 89 Metascore
    • 100 Critic Score
    It is music whose scope, erudition and vitriol makes everything else in this year of exceptional musical timidity seem puny. [Nov 2003, p.106]
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    • 84 Metascore
    • 100 Critic Score
    More of the same, only more so. [Apr 2002, p.94]
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    • 85 Metascore
    • 100 Critic Score
    Great by Smith's standards. Practically genius by everybody else's. [Feb 2004, p.74]
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    • 76 Metascore
    • 100 Critic Score
    You have to adjust to its lack of ornamentation and let it settle, seep, uncurl like smoke or love. And there are songs here to equal his best. [Album Of The Month, Dec 2001, p.100]
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    • 93 Metascore
    • 100 Critic Score
    Terrifically thorough. [Nov 2004, p.131]
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    • 80 Metascore
    • 100 Critic Score
    The Libertines is a record of such raw autobiographical honesty that it carries a weight few others in 2004 can match. [Album of the Month, Sep 2004, p.94]
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    • 83 Metascore
    • 100 Critic Score
    The sharpest, most imaginative and downright listenable album of Blur's career to date.... A grown-up alt.rock album of breathtaking potency and invention. [Album of the Month, June 2003, p.90]
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    • 90 Metascore
    • 100 Critic Score
    The first record in a long while I've wanted to play again immediately after it's finished. [Album Of The Month, April 2002, p.92]
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    • 84 Metascore
    • 100 Critic Score
    Even by their standards, Yoshimi Battles The Pink Robots is astonishing.... Plainly, this is music abnormally alive with possibilities. [Album of the Month, Aug 2002, p.96]
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    • 97 Metascore
    • 100 Critic Score
    White's willfully basic approach is what gives Van Lear Rose its freshness.... If you thought Rick Rubin's Johnny Cash reinvention was impressive, wait 'til you grab a fistful of this. [Album of the Month, June 2004, p.84]
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    • 92 Metascore
    • 100 Critic Score
    The best rapper this country's ever produced, period.... Next to Dizzee Rascal everybody looks pale, uninteresting and irrelevant. [Sep 2003, p.98]
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    • 83 Metascore
    • 100 Critic Score
    Rarely has contrived weirdness sounded so utterly bewitching. [Jun 2004, p.85]
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    • 91 Metascore
    • 100 Critic Score
    An essential listen for anyone interested in where music might take them. [Jun 2004, p.86]
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    • 87 Metascore
    • 100 Critic Score
    For all the influences, their voice is uniquely, gently mad. [Mar 2004, p.88]
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    • 81 Metascore
    • 100 Critic Score
    Sincerity of intent is one thing. But they've got the music to back it up.... This is Scissor Sisters' first Greatest Hits collection. [Feb 2004, p.70]
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    • 97 Metascore
    • 100 Critic Score
    A unique and unlikely moment of retrieval, restoration and renaissance. [Nov 2004, p.98]
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    • 79 Metascore
    • 100 Critic Score
    Makes you want to chain-smoke while swigging a quart of Jim by the neck and taking agreeable houswives to stud. [Aug 2003, p.110]
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    • tbd Metascore
    • 100 Critic Score
    The most original debut by a Manchester band since Squirrel & G-Man Twenty Four Hour Paty People..., maybe even Unknown Pleasures. [Sep 2002, p.116]
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    • 84 Metascore
    • 100 Critic Score
    A record nobody could fail to love. [Feb 2005, p.84]
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    • 86 Metascore
    • 100 Critic Score
    It's like the best music of the '70s compressed under '80s new wave dynamics. [Feb 2005, p.74]
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    • 72 Metascore
    • 100 Critic Score
    Confirms Doves as the country's most innovative rock group. [Mar 2005, p.94]
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    • 66 Metascore
    • 100 Critic Score
    This album really is just too good to be true. [Apr 2005, p.114]
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    • 82 Metascore
    • 100 Critic Score
    It's their first masterpiece. [Album of the Month, May 2005, p.94]
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    • 81 Metascore
    • 100 Critic Score
    It excels at that classic pop trick of combining the euphoric with the melancholy. [Apr 2005, p.108]
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    • 90 Metascore
    • 100 Critic Score
    An extraordinary achievement. [Album of the Month, Aug 2005, p.86]
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    • 75 Metascore
    • 100 Critic Score
    May just be the most concise and potent distillation of Thompson's art to date. [Album of the Month, Sep 2005, p.98]
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    • 73 Metascore
    • 100 Critic Score
    There are some outstanding songs here, and Jagger turns in a series of performances that are their match, full of much defiant flouncing, strutting bitchiness, preening arrogance, snarling haughtiness and a typically provocative misogyny. [Album of the Month, Oct 2005, p.92]
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    • 73 Metascore
    • 100 Critic Score
    Deep, warm, fully rounded and with no slack, Prairie Wind is Neil at his best. [Oct 2005, p.101]
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    • 85 Metascore
    • 100 Critic Score
    Lookaftering is some kind of miracle. [Nov 2005, p.100]
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    • 69 Metascore
    • 100 Critic Score
    29
    Nope, this is not easy listening, yet he's never made a more beautiful album. [Jan 2006, p.108]
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    • 78 Metascore
    • 100 Critic Score
    A dozen remarkable tracks. [Feb 2006, p.78]
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    • 82 Metascore
    • 100 Critic Score
    The thrill it provides will send a shiver of recognition through anyone who grew up with The Specials, The Smiths or Parklife. [Album of the Month, March 2006, p.86]
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    • 75 Metascore
    • 100 Critic Score
    It would be fanciful, not to mention disrespectful, to say that Morrison has waited his whole career to make this album. But he makes it sound like he has. [Apr 2006, p.96]
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    • 83 Metascore
    • 100 Critic Score
    Morph... sounds utterly of a piece with Aja. [Apr 2006, p.104]
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    • 76 Metascore
    • 100 Critic Score
    Make no mistake, the Lips have done it: three astonishing LPs in a row. [May 2006, p.94]
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    • 73 Metascore
    • 100 Critic Score
    The supersized culmination of the Chili Peppers' artistic journey. [Jun 2006, p.102]
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    • 79 Metascore
    • 100 Critic Score
    Could very well be the best record of this restlessly self-critical career. [Jul 2006, p.90]
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    • 89 Metascore
    • 100 Critic Score
    Love And Theft was quite unlike any other pop album--apart, that is, from Modern Times, its direct and audacious sequel. [Sep 2006, p.72]
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    • 85 Metascore
    • 100 Critic Score
    Finn’s writing is sharper than ever, the various narratives driven less by the wordy exposition of yore than acute observation, devastating detail, by turns exclamatory, epigrammatic and grainily authentic.
    • 80 Metascore
    • 100 Critic Score
    He concocts a series of dazzling interior epics with just a fingerpicked acoustic guitar and his echo-drenched voice. [Nov 2006, p.101]
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    • 85 Metascore
    • 100 Critic Score
    Ys
    For the 56 minutes that "Ys" lasts, all the doubts evaporate. Every elaboration has a purpose, every labyrinthine melodic detour feels necessary rather than contrived. Tempting as it is to fixate on the gilded reputations of her associates, this is unequivocally Newsom’s album.
    • 92 Metascore
    • 100 Critic Score
    It's remarkable... how much of a piece the entire set is, reflecting how skilfully Waits has welded the various tributary styles of his art into a seamless whole. [Dec 2006, p.122]
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    • 84 Metascore
    • 100 Critic Score
    Their scratchily rhythmic guitar music with dour, sardonic vocals has proved immensely influential. [Dec 2006, p.114]
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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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    • 75 Metascore
    • 100 Critic Score
    They continue to find some clever ways to do a pretty dumb thing. [Jul 2007, p.112]
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    • 71 Metascore
    • 100 Critic Score
    Under The Blacklight is by far and away the most accessible album that Rilo Kiley have ever made.
    • 76 Metascore
    • 100 Critic Score
    La Radiolina reaches out beyond it's core audience to a universal constituency, not so much a world music record as a global-rock mission statement.
    • 68 Metascore
    • 100 Critic Score
    Street entirely avoids DIA’s flinty spectrality and staticky crackle and turns a bright light on the smart, compact and relentlessly exciting arrangements he’s here coaxed from the band.
    • 87 Metascore
    • 100 Critic Score
    The pairing of the wily old tomcat and the classy country thrush turns out as magically in reality as it seemed unlikely on paper.
    • 83 Metascore
    • 100 Critic Score
    This is a stunning album, bristling with astute and funny words, glorious tunes and delivered in performances all the more impressive for sounding so utterly effortless. [Mar 2008, p.80]
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    • 88 Metascore
    • 100 Critic Score
    For Emma, Forever Ago is such a hermetically sealed, complete and satisfying album, the prospect of a follow-up--of a life for Vernon beyond the wilderness, even - seems merely extraneous.
    • 85 Metascore
    • 100 Critic Score
    Third is the most stunning, stark and superb Portishead album yet. [May 2008, p.84]
    • 81 Metascore
    • 100 Critic Score
    The Evangelist isn’t a Go-Betweens album, but it’s more cohesive than any of Forster’s other solo albums, and more moving.
    • 72 Metascore
    • 100 Critic Score
    Hailing from the wrong coast, the Charleston, South Carolina-based Explorers Club have done the near-impossible, turning an obsession with everything Beach Boys into an utterly beguiling pop album. [June 2008, p.88
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    • 87 Metascore
    • 100 Critic Score
    Unavailability has also played its part in pumping up the myth – so much so that you wonder if, heard in 2008, these songs stand to disappoint. In fact, key moments of Pacific Ocean Blue square dramatically up to your loftiest expectations.
    • 85 Metascore
    • 100 Critic Score
    Staggeringly good.
    • 89 Metascore
    • 100 Critic Score
    Fed
    Fed is beautifully excessive, ornamented with dazzling soul/pop arrangements. [Sep 2008, p.114]
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    • 86 Metascore
    • 100 Critic Score
    Tell Tale Signs is awash with evidence of his staggering mercuriality, his evident determination even in the studio to repeat himself as little as possible, re-takes not merely the occasion for refinement, the honing of a song into static finality, but serial re-imaginings.
    • 81 Metascore
    • 100 Critic Score
    Smart, cocksure and as cosmopolitan as New York itself, Live At Shea Stadium deserves a place amongst the greats.
    • 82 Metascore
    • 100 Critic Score
    It features tracks recorded with rock outfits like The Flying Hearts which recall Jonathan Richman and Lou Reed; minimal, folksy miniatures that sound a ltttle like John Martyn or James Taylor; and a string of delicious, whimsical synth-pop songs that are as good as anything in the early-'80s canon. [Dec 2008, p.115]
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    • 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.
    • 84 Metascore
    • 100 Critic Score
    Sugar Mountain is a fascinating snapshot of Neil Young at a transitory moment in his long career, for which it also provides an indelible template.
    • 92 Metascore
    • 100 Critic Score
    This slice of weird-rock from a more contented American decade is playful and preposterous in equal measure. [Feb 2009, p.89]
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    • 89 Metascore
    • 100 Critic Score
    It feels like one of the landmark American albums of the century so far. [Jan 2008, p.86]
    • 84 Metascore
    • 100 Critic Score
    There is much, meanwhile, to recommend the O’Brien remix, or “deconstruction” as he puts it. What O’Brien has mostly done is strip away the more ornate layers of the Palmer mix and cutting back on the album’s moments of more florid melodrama.
    • 84 Metascore
    • 100 Critic Score
    As a State of the Union address, this bold and often brilliant record is less inclined towards optimism than, say, Springsteen’s admirable "Working On A Dream."