Under The Radar's Scores

  • TV
  • Music
For 3,446 reviews, this publication has graded:
  • 36% higher than the average critic
  • 4% same as the average critic
  • 60% lower than the average critic
On average, this publication grades 6.5 points lower than other critics. (0-100 point scale)
Average Music review score: 65
Highest review score: 100 Love Kraft
Lowest review score: 0 Burned Mind
Score distribution:
3,446 music reviews
    • 65 Metascore
    • 35 Critic Score
    If this somehow still manages to be the kind of thing that'll get you out on the dance floor, you still have to survive instrumentals that plod rather than thrill, songs that meander rather than aim, and a slew of lazy sing-speech.
    • 76 Metascore
    • 35 Critic Score
    Think Ash covering Nirvana and you'll have an idea of just how bad an idea this album is. [Mar-Apr 2013, p.94]
    • 68 Metascore
    • 35 Critic Score
    While this could have been a record defined by atmosphere, the near-absence of energy and long, formless instrumental sections will have listeners tuning out long before it hits any sort of stride.
    • 77 Metascore
    • 30 Critic Score
    This sounds like what writers for a comedy skit trying to make fun of avant-garde music would come up with. [#5, p.114]
    • 60 Metascore
    • 30 Critic Score
    Vulnerable has a cheap sound and a cut and paste feel from beginning to end and is hard to shake. [#5, p.110]
    • 53 Metascore
    • 30 Critic Score
    His... worst album to date. [#7]
    • 70 Metascore
    • 30 Critic Score
    Dull, aimless, slightly pretentious, and overall a work that few people will ever find reason to put on the stereo. [#7]
    • 52 Metascore
    • 30 Critic Score
    Sorry ladies, a foreign accent, cheap synth sounds and zero hooks ain't cutting it anymore. [#5, p.111]
    • 76 Metascore
    • 30 Critic Score
    An astonishingly boring band. [#5, p.103]
    • 57 Metascore
    • 30 Critic Score
    The snarky, ironic title only seems to poke fun at what is Daft Punk's most programmed and artificial album to date, and this is just a part of what feels like an all in-joke record. [#9]
    • 64 Metascore
    • 30 Critic Score
    All but unlistenable for five of its six songs. [#9]
    • 59 Metascore
    • 30 Critic Score
    An ugly mess. [#11, p.116]
    • 63 Metascore
    • 30 Critic Score
    If this is what happens when Keane attempt to delve into darkness, the mind reels at what these guys would sound like when they’re in a good mood. [#14]
    • 62 Metascore
    • 30 Critic Score
    The problem once again is that it’s all been done before and better. [#15]
    • 44 Metascore
    • 30 Critic Score
    Instrumentally, the album might be as strong as any Stooges work, with blistering guitar, blazing tempos, and well-placed skronking sax, but time and again, Pop proves its hindrance. [#17, p.93]
    • 61 Metascore
    • 30 Critic Score
    These three Coventry lads crank out a predictable rock album with no real direction at all. [Fall 2008, p.86]
    • 69 Metascore
    • 30 Critic Score
    Spencer and Matt Verta-Ray go even farther into chugging rockabilly riffs and hiccupping Elvis poses they explored on their 2006 debut. [Summer 2007, p.90]
    • 72 Metascore
    • 30 Critic Score
    Washington Square Serenade is an utterly unlistenable failure. [Fall 2007, p.87]
    • 70 Metascore
    • 30 Critic Score
    Williams' songs are extremely repetitive, relying on MAX/MSP texture for their variance but proceeding at such a pace that it's easy to zone out, a tendency exacerbated by Williams' apparent three-note vocal range. [Fall 2007, p.77]
    • 79 Metascore
    • 30 Critic Score
    There are some entertaining songs here ('Drive On, Driver,' 'I’ll Dream Alone') but overall, there is scarcely an affective moment on Distortion. [Winter 2008, p.83]
    • 71 Metascore
    • 30 Critic Score
    For people who enjoy overly polished, sub-par bar bands. [Winter 2008, p.89]
    • 65 Metascore
    • 30 Critic Score
    Not content to leave well enough alone, however, the female/male tradeoff vocals take over, stranding the remainder of songs somewhere between emo and alternative--not a great place to be. [Winter 2008, p.88]
    • 70 Metascore
    • 30 Critic Score
    Unfortunately, creativity is nonexistent on Get Awkward. [Spring 2008, p.82]
    • 67 Metascore
    • 30 Critic Score
    The best next step would be to return to form as soon as possible and forget these Evil Urges. [Summer 2008]
    • 61 Metascore
    • 30 Critic Score
    For much of Fasciination, it’s the music that keeps the record afloat, because, even at his very best, singer Tim Fink doesn’t have much to say. [Summer 2008]
    • 60 Metascore
    • 30 Critic Score
    Welcome to Goon Island never seems to find dry land. [Winter 2008]
    • 71 Metascore
    • 30 Critic Score
    The whole thing almost makes you wonder if Kevin Barnes isn't fucking around just to see what he can get away with, as he spends the better part of the record playing against his own strengths and nearly everything the listener has come to expect. [Fall 2008, p.77]
    • 69 Metascore
    • 30 Critic Score
    Getting mauled by that white tiger sounds a bit more exiting. [Year End 2008]
    • 66 Metascore
    • 30 Critic Score
    Megapuss seems like one bad decision after another. [Year End 2008]
    • 68 Metascore
    • 30 Critic Score
    Any way you slice it, Trail Of The Dead is a sad case in selling out. [Winter 2009, p.68]