Wall of Sound's Scores

  • Music
For 232 reviews, this publication has graded:
  • 68% higher than the average critic
  • 3% same as the average critic
  • 29% lower than the average critic
On average, this publication grades 0.5 points higher than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 92 Thirteen Tales From Urban Bohemia
Lowest review score: 20 When It All Goes South
Score distribution:
  1. Negative: 2 out of 232
232 music reviews
    • 50 Metascore
    • 73 Critic Score
    Neither a chip off the ol' Bizkit nor the kind of indulgent instrumental workout many ax aces opt for on their solo turns, Big Dumb Face is a work of clever humor, spirited silliness, and, in more than a few places, some pretty good songwriting.
    • 78 Metascore
    • 73 Critic Score
    But as the songs blow by like so much sonic shrapnel, Rancid runs the risk of trying to say too much too quickly and losing its voice amid the ranting, raging blur.
    • 55 Metascore
    • 73 Critic Score
    Soul Daddy offers the real spirit of the Daddies, a blend of styles that rocks as much as it swings, taking side trips into soul reggae and smoky lounge blues along the way. The combination makes for a much more potent recording.
    • 73 Metascore
    • 73 Critic Score
    Production is a dance record, but Mirwais is no mere slave to the rhythm. While other artists keep the BPM pumped up, the songs here drift and simmer. "V.I. (The Last Words She Said Before Leaving," for example, creeps along at a funereal pace for more than six minutes and doesn't catch much of a beat until four minutes in.
    • 56 Metascore
    • 72 Critic Score
    She still suffers under the Whitney-Mariah delusion that Volume equals Passion, which proves to be her greatest undoing on this 11-song set.
    • 76 Metascore
    • 72 Critic Score
    But while The Mirror Conspiracy is lush relaxation music, it can be too relaxed at times. Some of the tracks, such as "So Com Voce," feel bland and lack the rhythmic ideas driving standout cuts like "Lebanese Blonde" and "Le Monde."
    • 66 Metascore
    • 72 Critic Score
    Time Bomb packs an incendiary wallop that's as noisy as nighttime on the Fourth of July.
    • 73 Metascore
    • 72 Critic Score
    There's a lot of great music here to enjoy. The political tone on the album is more problematic, though.
    • 77 Metascore
    • 72 Critic Score
    Beenie Man's smooth adaptability works against him, as the 17 tracks almost inevitably contain a few less than stellar ones. For the most part, however, Art and Life has more good than bad.
    • 64 Metascore
    • 72 Critic Score
    And while there's a temptation to write this -- and Martin -- off as just another pop-tart confection reprising a proven sonic formula, the fact remains that the singer and his cohorts craft music that's undeniably engaging, tuneful, and, quite often, lots of fun.
    • 77 Metascore
    • 72 Critic Score
    Everything, Everything is a solid live album, and a great introduction to the music of Underworld, even if its most transcendent moments prove to be all too fleeting.
    • 52 Metascore
    • 72 Critic Score
    The disc's first single, "Someone Else Not Me," makes it clear that although the band often sticks to the same songwriting formula, there are still new melodies left to explore.
    • 75 Metascore
    • 72 Critic Score
    Even when the band rocks, the music is tethered to a hazy, psychedelic vibe. Occupying each end of the CD's narrow stylistic spectrum are "Pup Tent," which sounds like the Cowboy Junkies covering The Doors, and "Sideshow by the Seashore," which conjures up the image of Crazy Horse being fronted by acclaimed Athens singer-songwriter Vic Chesnutt.
    • 71 Metascore
    • 72 Critic Score
    Despite the initial futuristic impression, Cole proves himself to be guilty of the same superficial high concepts that taint far too many dance music albums. Still, there's much to recommend here, especially when Cole sticks to the grooves.
    • 66 Metascore
    • 71 Critic Score
    The band members unleash meditative, self-consciously poetic jams, solidifying their status as the hipster's Phish.
    • 71 Metascore
    • 71 Critic Score
    The sort of disc that inevitably prompts skeptics to ask, "You call that music?"
    • 72 Metascore
    • 71 Critic Score
    The band is beguilingly hypnotic, making music that is decidedly off-kilter. Guitars swirl, grind, and mesh with fluid rhythms and haunting melodies.
    • 83 Metascore
    • 71 Critic Score
    Another surprisingly coherent and substantial power pop record with solid hooks and memorable songs, another dazzling combination of Anglo-pop melody, arena rock chord changes, and DIY aesthetic.
    • 75 Metascore
    • 71 Critic Score
    Eitzel's songs, at their best, could serve as fodder for the next Sinatra, should such a crooner emerge from a dingy bar on the far side of town. As performed by Eitzel himself, his compositions resonate with a mix of existential melodrama and black humor that cuts deep to the bone.
    • 60 Metascore
    • 71 Critic Score
    His impressively relentless battle raps offer a barrage of metaphorical violence delivered with a vehement rat-a-tat-tat.
    • 77 Metascore
    • 70 Critic Score
    The disc evokes both the heartbreak and the buoyancy of bands like Big Star and Teenage Fanclub.
    • 61 Metascore
    • 70 Critic Score
    A grab-bag set of videos and live and unreleased recordings that are more of an enhancement for devotees' collections than an introduction for neophytes.
    • 82 Metascore
    • 70 Critic Score
    The new disc has a feeling of renewal, a sense of freedom, and perhaps even fun.
    • 58 Metascore
    • 70 Critic Score
    Since Headache doesn't go for any of Rush's extended instrumental outings or skewed dynamics, the onus is on Lee and Mink's melodies, which are generally strong and taut, building on familiar elements but adding a bit more sheen and smoothly executed changes to the mix.
    • 77 Metascore
    • 70 Critic Score
    As always, the acoustic pop tracks remain the Go-Between's most effective.... It's clear that the band's heyday, those heady times that supplied fans with a surfeit of astonishingly good pop songs... are over, but there's also no doubt that McLennan and Forster can still turn out quality goods.
    • Wall of Sound
    • 59 Metascore
    • 70 Critic Score
    She's older, wiser, and more steadied in her approach across the 11 songs that make up the album, but had this disc come out in 1997 or 1998, it would've been seen as a somewhat less-impressive follow-up to Relish.
    • 70 Metascore
    • 70 Critic Score
    Scorpion, her second solo album in three years, stands a good chance of blowing up the airwaves and charts, though it still battles with the hardcore elements that made her first album such a disappointment.
    • 78 Metascore
    • 70 Critic Score
    Supposedly split into two themes, it turns out that the music throughout is interchangeable; any track could have appeared on either CD.
    • 83 Metascore
    • 70 Critic Score
    OST
    This ambitious project explores roots music without the scholarly subtext of an Alan Lomax recording, offering instead a simple but powerful reinterpretation of the originals.
    • 70 Metascore
    • 70 Critic Score
    OST
    Every track is at least fleetingly familiar, often having that feeling of the B-side that you haven't heard in years.... Still, adding a few hits wouldn't have hurt the soundtrack's shot at longevity...