Urb's Scores

  • Music
For 1,126 reviews, this publication has graded:
  • 63% higher than the average critic
  • 2% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 1 point higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Dance Mother
Lowest review score: 10 This Is Forever
Score distribution:
1,126 music reviews
    • 95 Metascore
    • 100 Critic Score
    To call Stankonia the album of the year would be easy. It would also be somewhat incomplete. The Atlanta duo's fourth album is more than simply a great record; it's a complex tome that enmeshes contemporary hip-hop values with a timeless Southern soul, while pushing the envelope damn near off the table. [#79, p.134]
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    • 84 Metascore
    • 100 Critic Score
    OST
    Amazing new music from Shields.... The perfect soundtrack to a brilliant movie. [Dec 2003, p.89]
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    • 86 Metascore
    • 100 Critic Score
    OST
    Nearly every song here can be called seminal without the slightest flinch. [Oct 2002, p.102]
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    • 78 Metascore
    • 100 Critic Score
    Lerche has a pop manual the size of the OED, and he's not the least bit bashful about using it. [Apr 2004, p.86]
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    • 82 Metascore
    • 100 Critic Score
    Silent Alarm doesn't just maintain Bloc Party's post-dance-punk appeal, it blows the fucking lid off. [Apr 2005, p.100]
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    • 79 Metascore
    • 100 Critic Score
    Quasimoto is Madlib at his most creative and compelling. [May 2005, p.83]
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    • 86 Metascore
    • 100 Critic Score
    This [is] all the Kraftwerk you need, if you didn't need all the Kraftwerk ever made. [Jul/Aug 2005, p.106]
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    • 79 Metascore
    • 100 Critic Score
    The Campfire Headphase is enough of a genre bender to finally introduce this music to a well-deserved new audience. [Dec 2005, p.94]
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    • 79 Metascore
    • 100 Critic Score
    Unequivocally recommended for the open-minded among us. [Apr 2006, p.86]
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    • 79 Metascore
    • 100 Critic Score
    The best thing about the second Yeah Yeah Yeahs album is the fact that it defies expectations, yet seems like the perfectly logical next step for such an adventurous band. [Apr 2006, p.81]
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    • 74 Metascore
    • 100 Critic Score
    The first truly great album of the dance-punk movement. [Sep 2006, p.132]
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    • 85 Metascore
    • 100 Critic Score
    A perfect album. [Sep 2006, p.143]
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    • 86 Metascore
    • 100 Critic Score
    The vocals are where Murphy has developed the most, trading in his Mark E. Smith yelp for various crooning styles. [Jan/Feb 2007, p.75]
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    • 87 Metascore
    • 100 Critic Score
    An album this undeniably imaginative, consistent and immersive comes as a wonderful surprise and proof that maybe music isn't as lost as it seems. [Apr 2007, p.107]
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    • 70 Metascore
    • 100 Critic Score
    Dance Mother is musical pixie dust illuminated by a warm neon glow. There is a great sense of magic and wonder in Telepathe’s music, their chirping, fairy-like, multi-tracked vocals providing a feeling of childlike awe.
    • 82 Metascore
    • 100 Critic Score
    If The Horrors began as a Halloween novelty, Primary Colours is like a twisted ending right out of the Twilight Zone--a hype beast that turned out to be a real monster.
    • 77 Metascore
    • 100 Critic Score
    This is heady material, but it’s also extremely beautiful and catchy, and picks up right where each of their respective solo careers left off.
    • 72 Metascore
    • 100 Critic Score
    Given their experience writing and producing for the likes of Kylie Minogue, Madonna and Brittney Spears, it stands to reason why Miike Snow is such an irresistibly captivating album.
    • 80 Metascore
    • 100 Critic Score
    The Norwegian maestro of disco, Hans-Peter Lindstrøm, teams up again with Christabelle (also known as Solale), and together they craft a masterful 10-song pop album.
    • 91 Metascore
    • 100 Critic Score
    Either allow this the dignity of being played through a quality sound system or go invest in a pair of Beats by Dres. This is far less an album than a cinematic experience.
    • 75 Metascore
    • 100 Critic Score
    Though adhering to this formula/non-formula, this self-produced long-time-comin' sophomore release relies on an even more augmented eclecticism than their 2004 guitar-driven Future Perfect (not better or worse, just OK Computer to The Bends differences).
    • 78 Metascore
    • 100 Critic Score
    The cumulative results of his efforts are a masterpiece both dark and striking. Dear is putting forth an open invitation to tour these shadowed places of his imagination, and this is one offer too good to miss.
    • 83 Metascore
    • 100 Critic Score
    While many of Cave and Co.'s albums celebrate redemption and salvation after an emotional battering, Grinderman 2 is about release, musically and otherwise – what else would you expect from a photo of a rabid wolf about to piss on then or tear a hole in someone in an opulent house?!
    • 80 Metascore
    • 100 Critic Score
    What Sufjan did in The Age of Adz is so beautiful and rich and complicated; he ended up telling the story of what life is for so many people who just end up turning the gears of the larger machine.
    • 78 Metascore
    • 100 Critic Score
    Bleak and beautiful, Family & Friends is an absolute beast.
    • 80 Metascore
    • 100 Critic Score
    The Golden Age of Apocalypse has an extremely rich and cosmic-like atmosphere, making you instantly reach for the repeat button. Stephen Brunner is no more a sideman; he's a solid jazz cat that doesn't need to jerk off with his bass wizardry.
    • 73 Metascore
    • 90 Critic Score
    The self-reflective vocals... are an insightful change, while the slow-boiling builds on "Mind In Rewind" will simply make you want to buy your 303 back off eBay. [Nov 2003, p.87]
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    • 80 Metascore
    • 90 Critic Score
    It's the album many heads wished Lauryn Hill had come back with instead of that weepy acoustic exercise. [Mar 2003, p.94]
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    • 65 Metascore
    • 90 Critic Score
    Touching Down evokes the unique funk sensibilities that made his seminal V Records and Full Cycle tracks so damn fresh, while giving you the sense that England's Bristolian isn't returning to anything, since he never left it behind to begin with. [Dec 2002, p.87]
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