Under The Radar's Scores
- TV
- Music
For 2,997 reviews, this publication has graded:
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36% higher than the average critic
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3% same as the average critic
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61% lower than the average critic
On average, this publication grades 6.9 points lower than other critics.
(0-100 point scale)
Average Music review score: 65
| Highest review score: |
Critic Score
100
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| Lowest review score: |
Critic Score
0
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Score distribution:
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Positive: 1,703 out of 2997
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Mixed: 1,209 out of 2997
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Negative: 85 out of 2997
2,997
music reviews
- By critic score
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Critic Score 80
Broadcast might be the most fully realized electronic band out there. [#5, p.105] -
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Critic Score 80
A more pop-oriented approach, with acoustic textures and melancholic tendencies that recall some of the band's finer work. [#7] -
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Critic Score 80
While the production techniques are so ingenious as to occasionally outshine the melodic content of the songs themselves, these are first and foremost pop songs. [#8, p.115] -
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Critic Score 80
Old 97's have become synonymous with infectious melodies and whip-smart lyrics, and they don't disappoint on album number five. [#7] -
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Critic Score 80
Perverted or not, the lyrics are hardly noticeable when used in such a beautiful melodic context. [#8, p.110] -
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Critic Score 80
These are Eitzel's purest confessionals to date. [#8, p.108] -
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Critic Score 80
Completes the near impossible accomplishment of making a mood record without becoming repetitive. [#7] -
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Critic Score 80
Practically bursts with lusciously arranged, mesmerizing songs that marry traditional rock instruments with electronic adornments. [#7] -
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Critic Score 80
A Herculean instrumental epic of beautiful depth, staggering grandiosity and extraterrestrial soundscapes. [#7] -
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Critic Score 80
Sounding even sparser in instrumentation and sonic flavor than the previous record, Chutes often comes across like a Mercer solo project. [#5, p.104] -
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Critic Score 80
Dropping the experimentation down a notch seems to have allowed a great batch of songs to shine through. [#7] -
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Critic Score 80
In taking back the rawness of [their] first e.p., the band have simultaneously acquired the courage to experiment with a surprising number of styles. [#9] -
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Critic Score 80
What's so exhilarating about this record, despite all its precise playing, is the casual way in which it shifts rhythmically, never seeming to follow a specific course, yet never losing its way. [#7] -
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Critic Score 80
A stunning return filled with irresistible pop of all varieties.... Note to major labels: you missed a gem. [#5, p.116] -
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Critic Score 80
While this is ultimately a more sophisticated record, it's probably a less obvious one, too. [#7] -
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Critic Score 80
Even though the best moments here hold their own with anything he has yet released, the lesser tracks show the first signs of diminishing returns on Banhart's previously limitless talent. [#8, p.108] -
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Critic Score 80
The swampy British folk-funk tracks stand on their own, making for a cracking debut. [#8, p.113] -
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Critic Score 80
The band's most organic and least groove-centric release, as well as their warmest and... most affecting. [#7] -
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Critic Score 80
A gamble that paid off in spades for a band that... is still sounding fresher, tighter and more relevant with each record. [#8, p.107] -
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Critic Score 80
Superwolf is simultaneously bleak and tender, the kind of album to reveal itself in layers over time. [#9] -
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Critic Score 80
A beautiful album of white noise married with catchy shoegaze harmonies. It's like Four Tet mixed with Radiohead. [#8, p.106] -
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Critic Score 80
The varied sounds and variety show that he has more tricks up his sleeve than I was led to believe. [#9] -
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Critic Score 80
It's clearly not the best The Wedding Present have done, but it far exceeds anything they wrote after '92. [#9] -
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Critic Score 80
No one else sounds like him, and these are the best songs he's ever played. [#9] -
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Critic Score 80
The production and arrangements on End Of Love are more varied and exciting than on Snide's previous efforts. [#8, p.106] -
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