Uncut's Scores

  • Music
For 6,066 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 2.6 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Doolittle 25
Lowest review score: 10 Let Me Introduce My Friends
Score distribution:
6,066 music reviews
    • 86 Metascore
    • 80 Critic Score
    Minimum Maximum is the sound of Kraftwerk shedding all previous skins and staking their claim on the now. [Jul 2005, p.106]
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    • 86 Metascore
    • 90 Critic Score
    Rarely since the Laurel Canyon heyday of CSNY, Jackson Browne et al, has the confessional mode been quite so unashamedly mined for artistic ore. [Jun 2013, p.68]
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    • 86 Metascore
    • 80 Critic Score
    A rather lovely record...Fully audible at last, Cox's downcast lyrics invest these hazy tunes with gripping poignancy. [Oct 2010, p.90]
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    • 86 Metascore
    • 80 Critic Score
    Funky, funny, stately, strange, soulful and sensual, Floreat is a unique and unequivocal triumph. [Oct 2011, p.83]
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    • 86 Metascore
    • 40 Critic Score
    They're diminished by trying to touch too many bases, often lapsing into sub-Oasis stodge. [Oct 2003, p.114]
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    • 86 Metascore
    • 80 Critic Score
    Feels freshly ironic and original. [Apr 2006, p.98]
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    • 86 Metascore
    • 80 Critic Score
    Luxury Problems is distinguished by the piercing vocals of Stott's former piano teacher, Alison Skidmore; looped, layered and heavily reverbed, they coil elegantly around Stott's brutalist constructions. [Jan 2013, p.83]
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    • 86 Metascore
    • 90 Critic Score
    The clutch of pre-album demos on LP3 of the boxset reveal how tightly plotted her vignettes were before The Breeders even entered the studio.... The post-Last Splash EPs are manna from heaven for college rock connoisseurs.... The only black mark against LSXX is that the brighter, re-recorded single versions of “Divine Hammer” and “Saints” serve to make the album originals sound a little underpowered.
    • 86 Metascore
    • 80 Critic Score
    Jaar, the son of conceptual artist Alfredo Jaar, can weave a heady spell, presenting himself somewhere between David Byrne and Ricardo Villalobos. [Jun 2011, p.85]
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    • 86 Metascore
    • 80 Critic Score
    Commissioned by Nike as an exercise mix for iPods, this euphoric, largely electronic set finds Murphy adapting DJ dynamics for the running machine.
    • 86 Metascore
    • 100 Critic Score
    What's in here finds the band inventive, unfailingly tuneful, and, rather belying the title, mellowing magnificently with age. [Aug 2009, p.87]
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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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    • 86 Metascore
    • 80 Critic Score
    A 25-track bonus disc of rarities makes this a feast for Barlow heads. [May 2011, p.94]
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    • 86 Metascore
    • 100 Critic Score
    There is an unassuming brilliance to much that they do and, as ever, We Used To Think The Freeway Sounded Like A River is a-bristle with finely-tooled detai.
    • 86 Metascore
    • 70 Critic Score
    Sheff's novelistic lyrics and the dextrous blend of country, folk and nervy indie-rock suggest a band approaching the peak of their powers. [Aug 2005, p.87]
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    • 86 Metascore
    • 80 Critic Score
    On this mostly splendid debut, meanwhile, Hawk actually fuses two of his previous recording identities bridging the shiny electronic of his Weird Tapes alter ego with the hazy lo-fi psychedelia of its "feminine" mirror image, Memory Cassette. [Jan 2010, p. 116]
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    • 86 Metascore
    • 80 Critic Score
    Woozy, off-track beats blend with video game blips and organic strings, harp and sax, while a cameo from Thom Yorke is woven neatly into this lush, psychedelic fabric. [Jun 2010, p.86]
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    • 86 Metascore
    • 80 Critic Score
    If their painstaking studiocraft has in the past seemed over-refined or even fussy, here they've discovered a new wildness, a liberating sense of drama. [Oct 2012, p.70]
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    • 86 Metascore
    • 80 Critic Score
    Separated from its era and the defensiveness which spawned it, Ram sounds great. [Jun 2012, p.96]
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    • 86 Metascore
    • 80 Critic Score
    What their debut lacks in innovation it makes up for with emotional eloquence. [Nov 2014, p.76]
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    • 86 Metascore
    • 90 Critic Score
    Their music is an intoxicatingly vivid evocation of the mythology of the American west and its Hispanic heritage, and Feast Of Wire lays down an optimistically early marker as one of the albums of the year. [Mar 2003, p.98]
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    • 86 Metascore
    • 60 Critic Score
    CD2 is a quirky new mixtape which proves he's still up to his old tricks. [Dec 2008, p.116]
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    • 86 Metascore
    • 90 Critic Score
    The album feels disciplined and enormously funky. [May 2012, p.61]
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    • 86 Metascore
    • 90 Critic Score
    A formidable demonstration of what can still be done with guitars. [Jan 2004, p.114]
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    • 86 Metascore
    • 80 Critic Score
    With Chavez Ravine he has performed another ethnomusicological miracle, opening a can of worms while drawing us deep into the musical heart of a lost community. [Jul 2005, p.90]
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    • 86 Metascore
    • 80 Critic Score
    Newman is at his most affecting when he plays it mercilessly straight: his flickers of sincerity all the more beguiling for only appearing rarely.
    • 86 Metascore
    • 80 Critic Score
    Featuring gently swooning arrangements by Nico Mhly, four duets with Beth Orton, three nimble reworkings of children's singing games and an affectionate R Kelly cover, I See The Sign inhabits an enchanted universe, not a million miles from Sufjan Stevens' "Michigan." [May 2010, p.83]
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    • 86 Metascore
    • 60 Critic Score
    Mick Barr's guitar work is hugely impressive, apparently concerned with documenting an infinite number of riffs, but the length of the compositions--often around 12 minutes--rather test the limits of endurance. [Aug 2011, p.90]
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    • 86 Metascore
    • 90 Critic Score
    For the fourth album in a row, they've moved the goalposts, challenging themselves to apply their whooping idiosyncrasies to a new aesthetic framework. [Mar 2014, p.70]
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    • 86 Metascore
    • 80 Critic Score
    The core of the album lies in a cluster of gorgeously restrained, piercingly evocative pieces built mostly from acoustic instruments. [Jun 2007, p.94]
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