Austin Chronicle's Scores
- Movies
- Music
For 1,951 reviews, this publication has graded:
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43% higher than the average critic
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3% same as the average critic
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54% lower than the average critic
On average, this publication grades 3.3 points lower than other critics.
(0-100 point scale)
Average Music review score: 70
Highest review score: | Wincing The Night Away | |
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Lowest review score: | Luminous |
Score distribution:
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Positive: 1,539 out of 1951
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Mixed: 380 out of 1951
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Negative: 32 out of 1951
1951
music
reviews
- By Date
- By Critic Score
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- Critic Score
Deadheads don't require this or any other tribute, but connecting with at least a couple of the set's five hours comes easily. Its modern cast, too, may well bridge a generational gap to rouse new converts.- Austin Chronicle
- Posted Dec 15, 2016
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Every classic, from "Blitzkrieg Bop" to "Today Your Love, Tomorrow the World," bleeds fresh energy. The three CDs of stereo and mono mixes, demos, single versions, and two blistering live sets from 1976 L.A. are killer, but the new vinyl makes purchasing this box mandatory.- Austin Chronicle
- Posted Dec 15, 2016
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Not only are these titles among David Bowie's best--dystopian "Rebel Rebel" rock, Soul Train albinism, and Berlin trilogy precursor, respectively--their refractions here bolster each case.- Austin Chronicle
- Posted Dec 15, 2016
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Volume Two echoes the series' progressively perilous shift toward the supernatural, a track like "Danger Danger" pivoting from the evocation of bike-riding best buds toward the debut of a demoniacal monster in a parallel universe.- Austin Chronicle
- Posted Nov 8, 2016
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Drive North speeds with enough teenage angst and raw vigor to coalesce into an onslaught of gleefully twisted mayhem.- Austin Chronicle
- Posted Nov 3, 2016
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If BS's LP titles sound so corny they're painful, Alex's POV remains imminently relatable.- Austin Chronicle
- Posted Nov 3, 2016
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Muscular production from the Blasting Room's Jason Livermore brings Stephen Egerton's melodic guitar to the forefront, and Alvarez and Stevenson's lockstep percussion sounds downright youthful.- Austin Chronicle
- Posted Nov 3, 2016
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Not without failings, such as the power ballad "Destroyer," the lower points temper the album's explosiveness.- Austin Chronicle
- Posted Nov 3, 2016
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Seventeenth album from the freaky forefathers of California skuzz, A Weird Exits somehow captures Thee Oh Sees at their best.- Austin Chronicle
- Posted Nov 3, 2016
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Not quite a party record, Leave Me Alone fuels messy rock with sunny guitar lines.- Austin Chronicle
- Posted Nov 3, 2016
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Radical rap, strained through absurdity and grotesqueness, Death Grips' fifth full-length effectively services--and disrupts--both punk and hip-hop.- Austin Chronicle
- Posted Nov 3, 2016
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If fans approach this idiosyncratic half-hour listen like a Pollard solo work rather than band output, it assimilates a slightly disjointed but fascinating character study.- Austin Chronicle
- Posted Nov 3, 2016
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Jack Tatum's 2010 debut Gemini and sophomore Nocturne two years later remain solitary swashes of moody guitars and sulky introspection. Life of Pause loses these moments in favor of lush waves of warm electronics and buoyant soul that coalesce into Neon Glo flourishes.- Austin Chronicle
- Posted Nov 3, 2016
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The second LP mines elements from their debut, but pushes bigger and more ambitious with plenty of room left to grow.- Austin Chronicle
- Posted Nov 3, 2016
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With 10 feet in several camps, New Jersey's Dillinger Escape Plan whips back and forth between dissonant thrash and brooding prog rock on its allegedly final studio LP.- Austin Chronicle
- Posted Nov 3, 2016
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- Austin Chronicle
- Posted Nov 3, 2016
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Paradise is--like the acute respiratory distress syndrome they're named for--breathtaking and terrifying in equal measure.- Austin Chronicle
- Posted Nov 3, 2016
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No one song stands apart, but Burn Something Beautiful hangs together as one of Escovedo's most entrancing works.- Austin Chronicle
- Posted Oct 31, 2016
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Gifted a falsetto reminiscent of famed Kentucky balladeer John Jacob Niles (1892-1980), his voice soars along rural Americana and across desolate plains ("Where I'm Calling From"). Through the tense, starry twilight of "Outlands," tranquil, meandering rivers and sprawling juniper trees ("Juniper Arms") outline a rocky terrain wherein "Some Beast Will Find You by Name." To that topography, add Adam Torres.- Austin Chronicle
- Posted Oct 7, 2016
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RR7349 mingles the tangible with the abstract to spur a novel meld of both imaginative atmosphere and gripping substance.- Austin Chronicle
- Posted Oct 3, 2016
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LWK doesn't shy away from biting into his heartbreak with gusto, even if his mild-mannered tenor betrays some of his music's much-needed grit.- Austin Chronicle
- Posted Oct 3, 2016
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Like composers Mike Post (Law & Order), Danny Elfman (The Simpsons), or Angelo Badalamenti (Twin Peaks), Survive axis Dixon and Stein's heterodox hard-wiring ameliorates TV's ambient takeaway.- Austin Chronicle
- Posted Sep 30, 2016
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Less swelling, more sand pits, the moments of crescendo here are few and far between.- Austin Chronicle
- Posted Sep 30, 2016
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Skin goes Technicolor and bigger, effectively standing on the shoulders of Disclosure and giant stars including Skrillex, Diplo, and album collaborator/reinventor Beck.- Austin Chronicle
- Posted Sep 30, 2016
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M83 are master recyclers of Eighties soundscapes on 2011 double-album Hurry Up, We're Dreaming. First offering since then, Junk attempts the same, but jumps the shark in the process.- Austin Chronicle
- Posted Sep 30, 2016
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The now-South Carolinians intermittently evoke that inaugural 2006 disc by employing a fresh producer, Grandaddy mage Jason Lytle, who stamps his former band's downtrodden space rock into BoH's festival formula.- Austin Chronicle
- Posted Sep 30, 2016
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Hard rhymes and bouncy hooks, stacked atop big drums and supple synths, hold steady through a barrage of guest spots.- Austin Chronicle
- Posted Sep 30, 2016
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No Burden's Nineties crunch plus its writer's youthful sageness/naiveté fosters a propitious career launch.- Austin Chronicle
- Posted Sep 30, 2016
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The young Brit's debut LP calls into question whether he's the next great electronic singer-songwriter or the worst bedroom-emo dubstep producer.- Austin Chronicle
- Posted Sep 30, 2016
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Tunes borrowing from Oasis and Echo & the Bunnymen via the clean, anthemic sound producer Dave Sardy provided for Jet, the UK quartet doesn't even try to sound new.- Austin Chronicle
- Posted Sep 30, 2016
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