Uncut's Scores

  • Music
For 5,585 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 In Search Of... [First Version]
Lowest review score: 10 Let Me Introduce My Friends
Score distribution:
5,585 music reviews
    • 87 Metascore
    • 80 Critic Score
    Silly and overblown, but wittily, brilliantly so. [Jul 2013, p.73]
    • 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]
    • 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]
    • 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]
    • 87 Metascore
    • 60 Critic Score
    Thankfully, Phrenology is more therapy than quack science. [Feb 2003, p.86]
    • 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]
    • 87 Metascore
    • 80 Critic Score
    Nile's river of song runs as deep as it's wide. [Jul 2013, p.80]
    • 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]
    • 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]
    • 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]
    • 87 Metascore
    • 80 Critic Score
    Hones the Southern harmonies and guitar-pickin' crosstalk of the brothers Good. [Nov 2004, p.116]
    • 87 Metascore
    • 80 Critic Score
    It's all subtly regal, abetted by banjo, fiddle and mandolin textures. [Nov 2013, p.71]
    • 87 Metascore
    • 80 Critic Score
    Her songwriting here... demonstrates a depth and majesty previously absent in her work. [Mar 2007, p.82]
    • 87 Metascore
    • 80 Critic Score
    Stevens' strumming often has an unworldly quality that transcends folk archetypes. [Apr 2004, p.92]
    • 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]
    • 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]
    • 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]
    • 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]
    • 86 Metascore
    • 90 Critic Score
    An entirely ravishing aesthetic experience. [Jun 2014, p.76]
    • 86 Metascore
    • 90 Critic Score
    An endlessly fascinating maze of sound.... This decade's Endtroducing..., possibly. [Jun 2003, p.98]
    • 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]
    • 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]
    • 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]
    • 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]
    • 86 Metascore
    • 80 Critic Score
    Some of their most startling material has always been found down the back of the sofa, among such relatively unconsidered trifles as "In The Back Of My Mind" and "Angel Come Home." [Oct 2013, p.82]
    • 86 Metascore
    • 80 Critic Score
    This is inventive harkening, not witless revivalism. [Apr 2008, p.90]