Beats Per Minute's Scores

  • Music
For 1,682 reviews, this publication has graded:
  • 58% higher than the average critic
  • 4% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 2.2 points higher than other critics. (0-100 point scale)
Average Music review score: 75
Highest review score: 100 Achtung Baby [Super Deluxe]
Lowest review score: 18 If Not Now, When?
Score distribution:
1682 music reviews
    • 79 Metascore
    • 65 Critic Score
    Her well of inspiration has always been deep, with songs about environmentalism, family troubles and small town gossip, but it seems now, when pressed too hard on the idea of maturity, Musgraves appears all too shallow, and no longer the three-dimensional character we loved and craved so much.
    • 82 Metascore
    • 72 Critic Score
    Her ability to speak about truly complex and philosophical facets of love and the self in a lyrically simplified way, but with sonically expansive and cohesive instrumentation, is admirable and incredibly progressive in the world of genres and storytelling.
    • 83 Metascore
    • 72 Critic Score
    It’s a gallery walk through of her feelings with fans and listeners. The mind, like a bedroom, can be messy. While completely set up with decor and personalized trinkets, the chair in the corner with all your clothes and the trinkets poking out from under the bed are quite obvious. Grande proves again that she is not embarrassed to let it all be seen.
    • 84 Metascore
    • 76 Critic Score
    The Collective is thoroughly, classic Kim, but many of the odder choices – such as a truly annoying autotune appearance – seem to stem from deep collaborative dialogue.
    • 83 Metascore
    • 84 Critic Score
    The Great Bailout is as much a historical commentary as a work of art, a detailed chronicle of the way in which a flawed system was flawlessly crafted.
    • 72 Metascore
    • 64 Critic Score
    As it stands, the record is too disjointed as a whole body of work, and you get the sense that when you return to it at a future point it’ll be to pick out the peaks and entirely ignore the lows. Such is life.
    • 89 Metascore
    • 87 Critic Score
    Whether or not Dabice believes things inside her have changed, it’s undoubted that I Got Heaven is taking Mannequin Pussy to new levels, and things on her exterior are only going to get bigger and brighter.
    • 84 Metascore
    • 75 Critic Score
    The band’s deepest, and strongest, album to-date.
    • 73 Metascore
    • 79 Critic Score
    Still does try new things, as it finds her working with new people while simultaneously showing more of herself. Sensational yielded a remix album, but Still is de Casier’s first album with features, and the artists appearing here do a good job fitting themselves into the mold of her musical world.
    • 72 Metascore
    • 68 Critic Score
    Venus finds Larsson serving energy and vulnerability in equal measure, however, still giving the listener an uneven experience when it comes to song choices and sequencing.
    • 88 Metascore
    • 85 Critic Score
    Their tunesmithery is crystalline, their lyricism freewheeling yet precisely penned, and their voice as evocative yet relaxed as ever.
    • 78 Metascore
    • 62 Critic Score
    The fact that TANGK captures a band boldly going out of their own depth doesn’t take away that IDLES come on a little too strong too often, compelling you to swipe left more often than right.
    • 61 Metascore
    • 52 Critic Score
    Considering this is her first album since 2014, it’s unfortunate that it can feel a little one-note. A Romeo and Juliet-esque yearning wasn’t necessarily expected or desired, and it doesn’t always serve her best across this effort.
    • 81 Metascore
    • 72 Critic Score
    Weird Faith is an honest and well-written record by one of underground pop’s sharpest and most empathetic artists.
    • 84 Metascore
    • 71 Critic Score
    At times, Malone’s “magic eye” seems elusive. Other times, it comes gloriously into focus, shimmering like an elegant mirage.
    • 75 Metascore
    • 76 Critic Score
    People Who Aren’t There Anymore was not written as a reflection but a documentary of the emotional processes the band members were going through at the time. The meaning of the songs will continue to change for the band over time, just as they will for listeners.
    • 82 Metascore
    • 73 Critic Score
    What we do know is that What Happened to the Beach? is a musical ride. While it does not hand out aces on all fronts, it remarkably returns to classically flamboyant roots that urge the importance of enjoying life.
    • 84 Metascore
    • 82 Critic Score
    With Phasor, Lange navigates an important rite of passage, testifying to life’s glories and anticlimaxes. He’s become an unflinching realist without sacrificing his curiosity, his capacity for wonder.
    • 84 Metascore
    • 68 Critic Score
    Prelude To Ecstasy, for all intents and purposes, is a really enjoyable pop record, but they are not burning down the mansion with this collection of songs anytime soon.
    • 75 Metascore
    • 78 Critic Score
    What an enormous room strikes as a means for Scott to prove to no one but herself that she can build her temple from scratch, embracing her inner non-conformist with steadfast spirit. Even within the sound of settling, Torres has plenty of charming things to say.
    • 82 Metascore
    • 60 Critic Score
    To his credit, he once again proves why he’s esteemed at the former via the blunt insights of “TMVTL”, but the “run that verse back” Benny is all but absent on Everybody Can’t Go. Once more, there’s nothing necessarily wrong with that, but he doesn’t seem sure how to replace that energy with conviction. Even The Alchemist gets dragged down by the pursuit of safe material.
    • 83 Metascore
    • 80 Critic Score
    It sits comfortably in the middle of the vast catalogue of albums released by Radiohead and its members. It’s reassuring to hear that, 35 years after the start of their artistic journey, these musicians can still come up with compositions this elegant and exciting.
    • 81 Metascore
    • 83 Critic Score
    Blue Raspberry is Kirby’s most pointed, honest, and resonant self. There’s heaviness everywhere, and it should be excavated in doses. Still, her voice remains in bloom, providing a levity that yet again makes a Katy Kirby listening experience a comforting one.
    • 86 Metascore
    • 74 Critic Score
    With pop music gradually crumbling under the heel of the algorithm-driven technocracy, their grotesque bricolage of styles isn’t so easily replicated or defined. ILION finds SLIFT banging at the walls, and at the very least, leaving some serious dents in the process.
    • 78 Metascore
    • 79 Critic Score
    The artistic flair of The Center Won’t Hold and the tightness of Path of Wellness are still present, but they find a comfortable position between the two that feels somewhat familiar and certainly natural for Sleater-Kinney.
    • 88 Metascore
    • 75 Critic Score
    And though the second half Orquídeas breaks stylistically with the first – sometimes a bit too abrasively to stay fully engaged – it nevertheless makes sense for an artist like Uchis, who is trying to break industry conventions one project at a time.
    • 85 Metascore
    • 74 Critic Score
    The project as a whole, despite its unabashed expressiveness, is characterized by subtle restraint, particularly on the part of Chubb. Flirting with histrionics while employing a semi-confessional MO, she largely avoids collapsing into hackneyed postures or melodrama.
    • 82 Metascore
    • 80 Critic Score
    Quaranta is an incredibly brave work of art. It eludes navel gazing and the self-flagellation that comes with substance abuse. It is varied enough to provide entertainment, but never submits to commodification.
    • 78 Metascore
    • 81 Critic Score
    Even if Hard Light is more homogenous than Delaware, it retains the group’s interest in always finding a different tonality, skipping from one genre or influence to another and conceiving genuine hit material.
    • 77 Metascore
    • 55 Critic Score
    Based loosely around a theme of karma and betrayal, it’s possible that the attempt to tie everything together lyrically came at expense elsewhere. The sequencing doesn’t help: following the Lykke Li-ish opener “Love And Other Drugs” and nuclear trap of “WUACV” (which stands for “woke up and chose violence”) comes a Barbie pink, seven-song sampler of other peoples’ sounds. We don’t get to see Maidza again until the three bangers crammed into the back half, which is very late.