Under The Radar's Scores

  • TV
  • Music
For 5,871 reviews, this publication has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 4.6 points lower than other critics. (0-100 point scale)
Average Music review score: 68
Highest review score: 100 Kid A Mnesia
Lowest review score: 0 Burned Mind
Score distribution:
5871 music reviews
    • 76 Metascore
    • 50 Critic Score
    Much of the album has a cheesy '80s vibe. [#17, p.93]
    • Under The Radar
    • 76 Metascore
    • 50 Critic Score
    It is Foals-by-the-numbers, though, and the band's apparent lack of energy renders it cold and forgettable.
    • 76 Metascore
    • 60 Critic Score
    A few... tracks, such as “(It’s A) Departure,” will stick with you, but Putting the Days to Bed falls shy of expectations. [Summer 2006]
    • Under The Radar
    • 76 Metascore
    • 60 Critic Score
    Both unapologetically sex-drenched, and featuring the occasional bout of weirdness not seen since Raw Digits, his 2002 side-project with Super_Collider, Compass occasionally drifts too far, its coordinates everywhere at once.
    • 76 Metascore
    • 60 Critic Score
    Troubadour sounds like a mixtape from a chameleonic band that does many thing well, but nothing that's identifiable as them. [Aug-Sep 2013, p.94]
    • Under The Radar
    • 76 Metascore
    • 50 Critic Score
    The album is at best ignorable and at worst irritatingly tranquilizing. [#39, p. 71]
    • Under The Radar
    • 76 Metascore
    • 60 Critic Score
    It's engaging stuff. It just outstays its welcome a bit.
    • 76 Metascore
    • 60 Critic Score
    While the varied approach is commendable, there's no denying an impulse to repeat the speeding pop thrill of "Valentine" or the Sabbath-y throb swelling within "Four Wishes."
    • 76 Metascore
    • 55 Critic Score
    Babes Never Die is by every means a solid, boisterous rock record, but their first one was all that and something more. Babes has fewer hooks, and less of the glimmering reverb we grew to love the last time around.
    • 76 Metascore
    • 60 Critic Score
    There's a sharp, crisp quality to most of these songs, Kenny keeps them short with a simple, often elegant presentation. [May 2011, p.82]
    • Under The Radar
    • 76 Metascore
    • 60 Critic Score
    The intention is to go for the cheese on Do It Again, but the impact is so much stronger when restraint is exercised.
    • 76 Metascore
    • 60 Critic Score
    Even though there is plenty to love about this record, it is unlikely to inspire a whole lot of devotion.
    • 76 Metascore
    • 40 Critic Score
    Rather than take the leap of faith required to create art truly terrible or transcendent, Harcourt has aimed, and landed squarely in the middle of the road, where the world is busy passing him by. [Summer 2010, p.84]
    • Under The Radar
    • 76 Metascore
    • 60 Critic Score
    Despite the veteran group putting in a valiant effort, Heaven Is Whenever will largely be known as "the transitional LP." Hey, at least Bobby Drake's drums still sound exceptional.
    • 76 Metascore
    • 50 Critic Score
    Like the much-maligned puppy, Forever Today is as cute as can be--but alas, hardly the pick of the indie pop litter. [May 2011, p.85]
    • Under The Radar
    • 76 Metascore
    • 40 Critic Score
    So samey are these tracks that you could sequence them all in a completely different, random order, and the album would still sound exactly the same.
    • 75 Metascore
    • 60 Critic Score
    Autolux's evolution isn't quite complete, but Transit Transit is an album made by a band ready to keep heading down the road. [Summer 2010, p.76]
    • Under The Radar
    • 75 Metascore
    • 55 Critic Score
    All in all, it makes for a record whose potential to be exceptional is all-too frustrating.
    • 75 Metascore
    • 60 Critic Score
    This is gorgeous Americana from an artist who has already garnered a dedicated following in Europe. [Winter 2009, p.78]
    • Under The Radar
    • 75 Metascore
    • 60 Critic Score
    He defers too many vocals to his backing gospel singers, and his synth pop sound does nothing to distinguish this from his work with The Killers. Oddly, this is the album's greatest strength.
    • 75 Metascore
    • 60 Critic Score
    The Rhumb Line is a step in the right direction but still a few feet away from the type of anthemic songs I believe they have in them. [Fall 2008, p.84]
    • Under The Radar
    • 75 Metascore
    • 60 Critic Score
    Humbug ruminates, but doesn't quite offer an extraordinary reply. [Fall 2009, p.61]
    • Under The Radar
    • 75 Metascore
    • 50 Critic Score
    Despite such guests as Jon Spencer and John Langford--and The Sadies themselves-you just want this to be better. [Jun 2012, p.151]
    • Under The Radar
    • 75 Metascore
    • 50 Critic Score
    There is a palpable sense of indifference throughout the first half of the record. [#15]
    • Under The Radar
    • 75 Metascore
    • 60 Critic Score
    If no particular tracks pop out from the others, it's as much a testament to the record's consistency as its limited range.
    • 75 Metascore
    • 50 Critic Score
    If you're a pre-existing fan, you'll have to scratch at the veneer quite a bit to find any trace of their former grit. [Spring 2008, p.83]
    • Under The Radar
    • 75 Metascore
    • 60 Critic Score
    There’s an odd sense of everything being so damn tasteful that you almost want him to overreach and miss some notes. [#15]
    • Under The Radar
    • 75 Metascore
    • 60 Critic Score
    Oberst's unmistakable voice, songwriting style, and melodic tendencies ground the album, but you have to wade through generic instrumentation and glossy production to find it.
    • 75 Metascore
    • 60 Critic Score
    Its choppy melodic synth lead is a perfect example of how even in music this esoteric, the pop bug can still bite. And maybe that's what Pumps is, in a way-Growing's twisted vision of a pop record.
    • 75 Metascore
    • 60 Critic Score
    It takes a while for Mind Bokeh to get going, and once it does it's rather compelling, but after the uniformly excellent Ambivalence Avenue, the album can't help but feel like an overcast sky with too few rays of sunshine shining through. [May 2011, p.89]
    • Under The Radar