Under The Radar's Scores

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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:
  1. Positive: 4,062 out of 5871
  2. Mixed: 1,679 out of 5871
  3. Negative: 130 out of 5871
5871 music reviews
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    • 87 Metascore
    • 85 Critic Score
    Dirty Computer
    On Dirty Computer, she finally makes good on her promise, keeping the fearlessness of her earlier albums while refining her focus. This album is only 48 minutes long, but it feels as ambitious and grand as her previous 70-minute releases. In the process, she has raised the standard for her music.
    • 75 Metascore
    • 85 Critic Score
    Mess
    The kind of envelope-pushing on Mess is nothing if not mature, simultaneously punk as fuck and utterly refined. [Feb/Mar 2014, p.72]
    • Under The Radar
      • Posted Mar 14, 2014
    • 83 Metascore
    • 85 Critic Score
    Two Ribbons
    Two Ribbons is a powerful celebration of growth, change, and fidelity. [Dec 2021 - Feb 2022, p.152]
    • 82 Metascore
    • 85 Critic Score
    Stranger in the Alps
    While the individual elements of Stranger in the Alps are not particularly innovative, it is Bridgers' delivery that strikes at something unusually warm.
    • 85 Metascore
    • 85 Critic Score
    Morbid Stuff
    Without doubt, one of the finest records of the year so far and—more importantly—an unflinching portrayal of what it means (and what it takes) to be human in this day and age.
    • 87 Metascore
    • 85 Critic Score
    Random Access Memories
    In the first half especially the format of fast song/slow song/fast song/slow song is adhered to a little too rigidly and, while the individual tracks are fantastic, it feels a little disjointed.
    • 84 Metascore
    • 85 Critic Score
    Dreams Are Not Enough
    The record is best enjoyed whole, with headphones, concentration, and responded to with adulation. Dreams Are Not Enough is 2019's best electronic album, hands down.
    • 78 Metascore
    • 85 Critic Score
    The Shadow of Heaven
    The stronger tracks are weighted towards the first half of the LP, leaving the back end of the album's pace to suffer--but remove these minor issues and what remains is an audacious and exquisite work of gloomy beauty that should see MONEY on a fast ascent, leaving grand sonic architecture in their wake.
    • 80 Metascore
    • 85 Critic Score
    Quiet the Room
    Ballentine has shed the veil of her peers’ convention here entirely, creating something quietly uncompromising, unflinchingly strange, and otherworldly. It’s beautiful, moving, and utterly beguiling.
    • 82 Metascore
    • 85 Critic Score
    2020
    Socially aware, beautifully played, dazzlingly well-crafted, and, most importantly, exceptionally moving, this is a glimpse of the future that's happening right now —and we're so lucky to have Dawson here to give his anxious, ambitious account.
    • 90 Metascore
    • 85 Critic Score
    No Cities to Love
    Brilliance notwithstanding, it's really best to experience No Cities to Love on its own terms, rather than by comparison to past classics: as a loud, exciting, barely-half-hour rock record. Its simplicity is matched by its richness and vitality.
    • 82 Metascore
    • 85 Critic Score
    I Had a Dream That You Were Mine
    It's a beautiful, rolling trip.
    • 84 Metascore
    • 85 Critic Score
    ANIMA
    Yorke hasn't lost his touch for making the timeliest of introspective records when his audience needed it the most.
    • 87 Metascore
    • 85 Critic Score
    In Colour
    In Colour consistently feels cohesive and directed. [Apr-May 2015, p.83]
    • 80 Metascore
    • 85 Critic Score
    All of Us Flames
    All of Us Flames feels like not only Furman’s most moving work yet, but also her most authentic portrait as an artist and a person.
    • 81 Metascore
    • 85 Critic Score
    Beware of the Dogs
    Beware of the Dogs is a melodic, memorable package overflowing with promise.
    • 75 Metascore
    • 85 Critic Score
    The Lamb
    The Lamb cloaks itself in a sobering, stable minded, eloquently thought out state of realism. West's lyrics read like observational prose, her melodies hashed out and clearly defined. These observations West makes are completely empirical, and her experiences and suffering are felt through every second of The Lamb.
    • 73 Metascore
    • 85 Critic Score
    Fall To Pieces
    Fall to Pieces is one of Tricky’s most cohesive and brilliant albums to date; he masterfully turned his grief into a work of art that provides immense consolation to those who seek it.
    • 90 Metascore
    • 85 Critic Score
    Spaces
    The variety of Frahm's career is captured with selective care, but Spaces' true achievement is transcending the summary nature of live records.
    • 85 Metascore
    • 85 Critic Score
    Miss Universe
    Miss Universe is a hell of a debut, with Yanya proving herself a powerhouse of songwriting especially, not to mention her pristine vocals and unique guitar voice.
    • 86 Metascore
    • 85 Critic Score
    Blue Rev
    Blue Rev is a sublime return and whilst there’s nothing quite as instant as “Archie, Marry Me,” tracks such as the glorious “Belinda Says” or the punky breakneck distortion of “Pomeranian Spinster” are as good if not better than anything they’ve previously released.
    • 88 Metascore
    • 85 Critic Score
    Sometimes I Might Be Introvert
    Bombastic, bold, and vulnerable. It’s easily her most ambitious effort to date: 19 tracks over the course of an hour and yet somehow, it feels as though nothing is wasted.
    • 86 Metascore
    • 85 Critic Score
    LP1
    This might be FKA twigs' first full-length, but it demands attention.
    • 86 Metascore
    • 85 Critic Score
    Lost In the Dream
    With all of its subtlety, Lost In The Dream drags a bit in small sections, but it's a small price to pay for such an immensely enjoyable record. [Feb/Mar 2014, p.76]
    • Under The Radar
      • Posted Mar 11, 2014
    • 84 Metascore
    • 85 Critic Score
    One Day
    It’s a remarkably sure-footed, brilliantly confident record and one that condenses the greatness of Fucked Up into a bite size treat. It’s a welcome, exhilarating release that, even in its darker moments, manages to uplift and inspire.
    • 85 Metascore
    • 85 Critic Score
    On the Line
    Stacked with radio-friendly earworms aplenty, this is no empty-calories pop. It's filled with inescapable themes--spirituality, life after death, addiction, loss--you can sink your teeth into, commiserate, and then sing along; hopefully through Meryl Streep-type tears.
    • 81 Metascore
    • 85 Critic Score
    Monomania
    Initially intending to discard the songs he wrote during that [dark] period, he instead salvaged many of them, which serve as something of a spiritual cleanse on the staggering Monomania.
    • 85 Metascore
    • 85 Critic Score
    Shaking the Habitual
    This is The Knife's show--and we're not allowed to forget that. [Mar-Apr 2013, p.93]
    • Under The Radar
      • Posted Apr 1, 2013
    • 91 Metascore
    • 85 Critic Score
    Higher! [Box Set]
    A high-energy quartet of live tracks from the band's 1970 performance at the Isle of Wright Festival is indispensable, all in all making Higher! the ultimate Sly & The Family Stone document. [Aug-Sep 2013, p.103]
    • Under The Radar
      • Posted Aug 29, 2013
    • 87 Metascore
    • 85 Critic Score
    V
    V could very well be the album that pushes The Horrors to the next echelon, something the group has already accomplished in its native U.K. with its last two albums breaking the top 10 charts. This is an unrealistic expectation Stateside, but V certainly has the chops to propel them up a level or two in the American public's consciousness.
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