Beats Per Minute's Scores

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For 1,700 reviews, this publication has graded:
  • 57% higher than the average critic
  • 4% same as the average critic
  • 39% lower than the average critic
On average, this publication grades 2.1 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:
  1. Positive: 1,553 out of 1700
  2. Mixed: 129 out of 1700
  3. Negative: 18 out of 1700
1700 music reviews
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    • 86 Metascore
    • 77 Critic Score
    Aboogi
    The music feels traditional, yet modern and accessible.
    • 86 Metascore
    • 85 Critic Score
    Madres
    She reaches through your speakers and pulls you into her fold where you ride buoyantly through her musical world, just as Peter Vajkoczy became part of her life of movement and dance.
    • 86 Metascore
    • 92 Critic Score
    David Comes To Life
    Fucked Up actively refuse any sort of definition, and David Comes To Life proves that they're more than capable of shouldering that burden.
    • 86 Metascore
    • 78 Critic Score
    Blue Rev
    A honed songwriting approach from Rankin seems to fuel Blue Rev, with only a few songs inching beyond three minutes. This excess-trimming approach makes Blue Rev the leanest the band has sounded, but also makes it their tightest work to date.
    • 86 Metascore
    • 83 Critic Score
    New Long Leg
    Dry Cleaning seem a working-class band, but they are not a political band in that same sense. This concept is mimicked across many post-punk bands past and present, but instead of trying to stay firmly between those politically-charged guardrails they have stepped outside of them and created their own scenic route.
    • 86 Metascore
    • 80 Critic Score
    Gold Record
    It may not stand at the forefront of its creator’s dauntingly strong body of work, but Gold Record more than earns its place among his never-ending soul searching.
    • 86 Metascore
    • 74 Critic Score
    Happier than Ever
    Aesthetically, it may be polarizing compared to the hit factory that was her debut, but Happier Than Ever stands on its own as a powerfully flawed, overstuffed, but meaningful exploration of what it’s like to live as both a teenager and a superstar in ways that none before her felt comfortable saying.
    • 85 Metascore
    • 86 Critic Score
    Sick!
    SICK! is a pure rap album, as only Earl Sweatshirt could deliver.
    • 85 Metascore
    • 90 Critic Score
    Shaking the Habitual
    If any record of this relatively young year demands your full attention then Shaking the Habitual is it, as it opens up as a vast chasm of unexpected possibilities, and despite any possible subconscious misgivings, you’ll immediately want to jump in without thinking twice.
    • 85 Metascore
    • 69 Critic Score
    Lucifer on the Sofa
    There are bright spots on Spoon’s 10th album, which indicate that Daniel’s bargain with Lucifer can still inspire him and his band to deliver the goods. It’s just that for now, it appears to be only a strong EP’s worth.
    • 85 Metascore
    • 75 Critic Score
    Girl in the Half Pearl
    Because of the fractured, whimsical makeup of the album, it can become a bit frustrating for the listeners hoping to detect Half Pearl‘s beating heart. But listen close enough, and resolve is there beneath the rubble in the chopped jazz pop of “Wild Animals”, in which Liv.e struts to her own self-belief, untethered from other people’s expectations of her.
    • 85 Metascore
    • 85 Critic Score
    Keepers of the Light
    Keepers of the Light is as much of a singular expression of the hardcore continuum as it is an exploration of it, but maybe the best way to soak in its two and half hours is as a richly constructed sound world unto itself.
    • 85 Metascore
    • 84 Critic Score
    Weather Alive
    She’s a painter of sound, of mood. And one feels after listening to this document of searching textures, yearning melodies, and newfound sonic intimacy, that she’s only getting started.
    • 85 Metascore
    • 88 Critic Score
    Mr. Morale & The Big Steppers
    He’s willing to stumble, befuddle, and outright offend – it’s all part of its creator’s flawed self, which is all but stripped starkly naked in front of us. It’s far too complex, far too searching to be wrangled in a simple review. I know this much: we’ll be talking about this one for a long, long time.
    • 85 Metascore
    • 90 Critic Score
    50 Words for Snow
    These tracks are sparse but airtight, haunting but unrelentingly gorgeous, both logical successors to the stunning second half of Aerial and completely unlike anything she's done.
    • 85 Metascore
    • 82 Critic Score
    New Brigade
    New Brigade is over in about 23 minutes, and each second feels well worth your time. Though the band can get sloppy at points, perhaps even a bit repetitive, Iceage have crafted some very memorable tracks here; and more than anything, New Brigade shows that this band has much more to offer in the future.
    • 85 Metascore
    • 80 Critic Score
    Silver Ladders
    While it isn’t horribly different from previous solo record Hundreds of Days, it does feel, overall, like her grasp on her tools is firmer, and her ideas feel a bit more refined and distilled here, like she’s reached a purer version of her vision.
    • 85 Metascore
    • 82 Critic Score
    I Inside the Old Year Dying
    Musically, the deft fusion of the delicate and the hearty reflects Harvey’s thematic explorations; the production is full of strange quirks, whether found sounds or unusual effects that are sometimes inserted and not repeated. The effect is that the music feels both hazy and alive, evoking the Orlam world in its strange splendour.
    • 85 Metascore
    • 77 Critic Score
    Daddy's Home
    It’s a topsy-turvy balancing act that she’s playing, but for the most part it’s successful. Clark flips between that groovy funk of the 70s, then back to her guitar rock days, and then, sure, she employs some more experimental and electronic moments that might come across as jarring to some. But it’s also just part of the brand that is St. Vincent in 2021.
    • 85 Metascore
    • 68 Critic Score
    The Overload
    The Overload has enough interesting touchstones, but unfortunately, how Yard Act aim to utilize them within their songwriting MO is still a bit of a jumble. Many of the sounds and textures don’t really add much expressive gusto to Smith’s thespian qualities, and I feel the group can cover a lot of ground here on upcoming releases.
    • 85 Metascore
    • 82 Critic Score
    We Stay Together [EP]
    We Stay Together is Andy Stott's second LP of 2011 and it's easily the heavier, more defined, and arguably better of the two.
    • 85 Metascore
    • 74 Critic Score
    Letter to Self
    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.
    • 85 Metascore
    • 84 Critic Score
    Impossible Truth
    Tunes are built slowly and satisfyingly, ebbing and flowing into oceans of ambient sound. Through these layers, though, shine frequent flashes of utter brilliance.
    • 85 Metascore
    • 81 Critic Score
    Gigi's Recovery
    Gigi’s Recovery manages to portray a soul longing for healing, resisting its thanatonic urges, grappling with the reality of being born into a cold, loveless void, and somehow trying to accept being loveable. And it has the brevity to show us that, at the end of its 12 song cycle, the battle can be won, even if the war will never end.
    • 85 Metascore
    • 83 Critic Score
    Fountain
    This is a life-affirming album which is not held back by the restrictions of linguistics and the limitations that words bring, and it may be just what you need to lift you out of yourself in these troubled times.
    • 85 Metascore
    • 78 Critic Score
    Midnights
    It’s clear that every listener will read Midnights in their own way – the record is simply too rich to function as background soundtrack. It’s a blistering experience that demands commitment, concentration and deep engagement – it’s an artist banishing their demons.
    • 85 Metascore
    • 94 Critic Score
    Helplessness Blues
    Fleet Foxes have become a band who will not stop pushing, who will challenge themselves to avoid stagnancy, who will work with both their instruments and their minds. Because of that, the audience is able to reap the fruit and feast on it together.
    • 85 Metascore
    • 82 Critic Score
    Pompeii
    Pompeii truly feels like a gesamtkunst rather than a collection of separate songs. The album reaffirms what makes Le Bon’s music such a useful prism to process thoughts and feelings that feel too immense to articulate within traditional means.
    • 85 Metascore
    • 76 Critic Score
    Pray for Haiti
    Haiti lacks a clear narrative. Still, this hardly harms the project. It simply constrains it to being particularly strong rather than transcendent.
    • 85 Metascore
    • 86 Critic Score
    I've Got Me
    Once again, Sternberg’s irrepressible, impossibly human spirit shines through the darkness. This is the ultimate power of I’ve Got Me: the majority of songs here focus on negative experiences, but the feeling coming out the other end of listening to it is one of uplift and renewed resolve to make something of one’s life. It’s what makes the album sound both modern and timeless.
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