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 Pay The Devil
Lowest review score: 10 Let Me Introduce My Friends
Score distribution:
5,668 music reviews
    • 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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    • 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."
    • 84 Metascore
    • 100 Critic Score
    More of the same, only more so. [Apr 2002, p.94]
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    • 84 Metascore
    • 90 Critic Score
    The Radio Dept. recall that giddy moment before sounding like the Stones was considered revelatory. Only these Swedes re-tweak the formula, sounding, if anything, better than Ride, Slowdive, Lush, Boo Radleys et al. [Sep 2004, p.100]
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    • 84 Metascore
    • 90 Critic Score
    A brilliant fusion of no-wave disco, dub-punk, early Factory aesthetics and post-rock technique. [Dec 2002, p.134]
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    • 84 Metascore
    • 90 Critic Score
    Her best in two decades. [Dec 2003, p.120]
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    • 84 Metascore
    • 100 Critic Score
    A record nobody could fail to love. [Feb 2005, p.84]
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    • 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.
    • 84 Metascore
    • 90 Critic Score
    A highly original band in its prime. [Jun 2005, p.107]
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    • 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
    • 90 Critic Score
    MCII hits you with the immediacy of a record that you're listening to for the first time but feel like you've already heard a thousand times and yet still aren't bored of. [Jun 2013, p.70]
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    • 84 Metascore
    • 90 Critic Score
    On The Worse Things Get, Case asserts herself less in a literal sense, but paints the most emboldening and endearing portrait of herself yet. [Oct 2013, p.76]
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    • 84 Metascore
    • 90 Critic Score
    It's a pity that the immaculate construction that is Ghosts now has an extension tacked on to it. [Apr 2006, p.119]
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    • 84 Metascore
    • 90 Critic Score
    Though feisty honky-tonk numbers like "I Don't Do Windows" shimmer, the worldweary ballads--especially the Johnson/Alison Krauss duet "Make The World Go Away"--are Sublime. [Feb 2013, p.74]
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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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    • 84 Metascore
    • 90 Critic Score
    An outstanding record which you'd be unwise to miss. [Aug 2004, p.91]
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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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    • 84 Metascore
    • 90 Critic Score
    A more enjoyable pairing of words and music this year it's hard to imagine. [Jun 2013, p.63]
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    • 84 Metascore
    • 90 Critic Score
    It's human where Radiohead are impenetrable, but complex where Coldplay are banal.... Elbow remain unquantifiably great. [Sep 2003, p.100]
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    • 84 Metascore
    • 90 Critic Score
    Dream River [is] among Callahan's very best. [Oct 2013, p.63]
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    • 84 Metascore
    • 90 Critic Score
    Emma Jean is mellower, mournful and unimpeachably authentic.... A magnificent piece of work. [Jun 2014, p.76]
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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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    • 84 Metascore
    • 90 Critic Score
    This is surely one of the most magical pop albums of 2003. [Sep 2003, p.112]
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    • 84 Metascore
    • 90 Critic Score
    A magnificent comeback. [Oct 2013, p.57]
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    • 84 Metascore
    • 90 Critic Score
    As a whole, it's brilliant. [Dec 2013, p.68]
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    • 83 Metascore
    • 100 Critic Score
    Tempest is in many respects the most far-reaching, provocative and transfixing album of Dylan's later career.
    • 83 Metascore
    • 90 Critic Score
    Another truly wondrous record. [May 2004, p.99]
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    • 83 Metascore
    • 100 Critic Score
    This is an excellent album that manages to be both a mature summary of an artist’s career and something completely fresh and new.
    • 83 Metascore
    • 90 Critic Score
    A complete rethink has resulted in the most uninhibited and visceral album of her career. [Jun 2014, p.78]
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    • 83 Metascore
    • 90 Critic Score
    These cuts are glorious on their own merits. [Jun 2012, p.92]
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