Uncut's Scores

  • Music
For 5,668 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 Yonder Is The Clock
Lowest review score: 10 Let Me Introduce My Friends
Score distribution:
5,668 music reviews
    • 77 Metascore
    • 20 Critic Score
    He's dispensed with the grittier elements and plumped for a straightforward US college rock backing, with dismal results. [Nov 2003, p.112]
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    • 76 Metascore
    • 20 Critic Score
    Sadly, Feed The Animals blends commercial US rap with rock classics with so little charm or skll, that even Jive Bunny is slightly annoyed you've used his name in vain. [Nov 2008, p.96]
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    • 73 Metascore
    • 30 Critic Score
    Toxicity is virtually unlistenable: thrash metal splintered into a million pieces by unnecessary time changes, topped off with excruciatingly theatrical vocals. [Dec 2001, p.118]
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    • 73 Metascore
    • 20 Critic Score
    He still sounds like a blue-collar phoney trying to be a poor man's Springsteen. [May 2002, p.104]
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    • 72 Metascore
    • 20 Critic Score
    By attempting chillwave haze, Scando-Balearic sunlight, shoegaze and taut inoffensive grooves, Twin Sister are certainly en vogue, but also utterly inept. [Oct 2011, p.100]
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    • 71 Metascore
    • 30 Critic Score
    Maximalists and circus ringmasters might enjoy it, but many will be scrabbling for the stop button. [May 2012, p67]
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    • 71 Metascore
    • 20 Critic Score
    If once she was sweetly sardonic, now she sounds utterly bored, and collaborator Greg Kurtsin hardly helps with an anodyne synthpop production that makes excruciating excursions into rawhide country, pallid polka and Bontempi showtunes.
    • 69 Metascore
    • 20 Critic Score
    The rhymes are gangsta shit at its laziest and most drearily noxious. [Mar 2002, p.111]
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    • 69 Metascore
    • 30 Critic Score
    No range of light here, just a wan glow that denies the need for shade. [Apr 2014, p.71]
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    • 68 Metascore
    • 30 Critic Score
    It hard to work out what's more annoying from the rest, be it Dustin Payseur's forgot-my-gym-kit vocals, the self-important but frankly juvenile ambient interludes, otr the neat riffs, which sound like plugins from some indie-pop iPad composition app. [May 2013, p.67]
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    • 68 Metascore
    • 20 Critic Score
    Arid and mannered. [Nov 2003, p.112]
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    • 67 Metascore
    • 30 Critic Score
    Their ragtag religious signifiers, stretching from the Mediterranean to Bengal, feel like gap year blog entries, and Cisneros' wizened sage delivery is ludicrous. [Aug 2012, p.77]
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    • 66 Metascore
    • 30 Critic Score
    Where Flying Lotus scatterbrain brings emotive grooves out of madness, GLK can only manage ugly, mostly boring sketches. [Nov 2012, p.75]
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    • 66 Metascore
    • 30 Critic Score
    A dreary debut. [Feb 2006, p.74]
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    • 66 Metascore
    • 10 Critic Score
    Surely--surely!--this is an elaborate hoax. [Oct 2006, p.110]
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    • 66 Metascore
    • 30 Critic Score
    Perhaps the most inappropriately-titled album since The Best Of Sting. [Dec 2003, p.116]
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    • 65 Metascore
    • 20 Critic Score
    A sentimental indulgence destined for a theme-pub half-life. [Nov 2002, p.114]
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    • 65 Metascore
    • 20 Critic Score
    On her underwhelming second album, we realise how nu-sould would sound stripped of all sonic invention, mischief and sensuality. [Dec 2002, p.151]
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    • 64 Metascore
    • 30 Critic Score
    Madonna's 12th album has a good title and a nice cover, but that's almost as much as you can say in its favour. [Jun 2012, p.77]
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    • 64 Metascore
    • 20 Critic Score
    Funplex consists largely of a series of witless retreads of school disco hit 'Love Shack,' with Fred Schneider's deadpan "woo!" recalling an increasinglt weary holiday rep. [Apr 2008, p.83]
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    • 64 Metascore
    • 20 Critic Score
    Basic, sludge-grey power pop that makes Weezer sound as kaleidoscopic as The Flaming Lips. [Nov 2002, p.128]
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    • 64 Metascore
    • 20 Critic Score
    Life Processes sounds like mice playing Hundred Reasons covers. [May 2008, p.95]
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    • 62 Metascore
    • 30 Critic Score
    Mancunian hipsters will shudder in disbelief. [July 2002, p.101]
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    • 62 Metascore
    • 30 Critic Score
    From the Top of Willamette Mountain sounds more confident than the UK debut he released earlier this year.
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    • 62 Metascore
    • 20 Critic Score
    Music without charm or purpose, with all the nutritional value of a Twinkie. [Apr 2012, p.71]
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    • 62 Metascore
    • 20 Critic Score
    Emotional Traffic contains a few soppy homilies to domesticity, a transparent bid for a Super Bowl halftime booking, and a great many reasons to listen to the equally polished, but vastly wittier, Brad Paisley. [May 2012, p.78]
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    • 62 Metascore
    • 20 Critic Score
    Rock rears its head on "speed demon," but by that point, the riffs are drowned out by the sound of a joke having fatally gone too far. [Oct 2011, p.81]
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    • 62 Metascore
    • 20 Critic Score
    A pale retread of Get Rich... fashioned by lesser talents. [Feb 2004, p.69]
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    • 62 Metascore
    • 20 Critic Score
    A collection of nursery rhymes aimed at toddlers, it should prove nauseating to anyone over the age of three. [Nov 2008, p.92]
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    • 61 Metascore
    • 30 Critic Score
    Chiefly consists of lumpen and joyless AOR rock, with a few rhythm loops to give an illusion of modernity. [Apr 2002, p.104]
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