Boston Globe's Scores

For 2,093 reviews, this publication has graded:
  • 66% higher than the average critic
  • 3% same as the average critic
  • 31% lower than the average critic
On average, this publication grades 0.6 points lower than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 City of Refuge
Lowest review score: 10 Lulu
Score distribution:
2093 music reviews
    • 75 Metascore
    • 70 Critic Score
    Re-examining its signature brat rock through an industrial prism, Garbage forges something more haunting and honest.
    • 72 Metascore
    • 70 Critic Score
    Colvin & Earle is rough, just this side of ramshackle, and thoroughly charming.
    • 85 Metascore
    • 90 Critic Score
    The album that resulted is Simon’s richest, most instantly appealing collection since “Graceland.”
    • 68 Metascore
    • 80 Critic Score
    The maturation of the Kills continues with this taut, emotionally complex fifth record, which deepens their sound even if it doesn’t break new sonic ground.
    • 81 Metascore
    • 80 Critic Score
    “Highway Anxiety” shimmers with melancholy and evocative locomotive persistence; “Gone Clear” travels from Tyler’s intricate fingerpicking to a barrage of chiming bells and back again.
    • 78 Metascore
    • 80 Critic Score
    The Quins’ voices give songs like “Faint of Heart” extra dramatic heft, while adding anxious shades to the steely-eyed façade of “Hang on to the Night.”
    • 75 Metascore
    • 80 Critic Score
    Finally, the Strokes sound as if they’re having fun again.
    • 75 Metascore
    • 70 Critic Score
    While satisfying, the record could have used a bit more of that invention and risk.
    • 70 Metascore
    • 80 Critic Score
    The group’s power has always come from its Spice Girls-like ability to form a massive unit of self-actualization, and the peppy 7/27 has no shortage of that, both lyrically and musically.
    • 75 Metascore
    • 80 Critic Score
    After an all-covers debut, this second album is a major step forward.
    • 78 Metascore
    • 80 Critic Score
    2
    The new album is as fiery and romantic as a youthful tryst, a rock ’n’ roll experience unsullied by the inevitable passage of time and unspoiled by the burden of experience.
    • 76 Metascore
    • 80 Critic Score
    The album glides through styles, maintaining a slightly menacing yet sexed-up vibe throughout.
    • 81 Metascore
    • 80 Critic Score
    Whereas second LP “You’re Gonna Miss It All” delivered Facebook rants from a self-pitying underclassman, Holy Ghost is the hard-charging graduation speech.
    • 74 Metascore
    • 80 Critic Score
    Six years later she returns healed, exuding hope and whimsy on her often wondrous new record.
    • 81 Metascore
    • 80 Critic Score
    The album’s title refers to the feeling of never being quite done, but “99.9%” oozes poise and confidence.
    • 83 Metascore
    • 80 Critic Score
    Unlike the haunting ambiguities that comprised the Johnsons oeuvre, Anohni doesn’t traffic in subtlety here; boldface subversiveness makes Hopelessness lethal.
    • 81 Metascore
    • 80 Critic Score
    Again Porter delivers passion and craft in abundance, owing to the songwriting, the acoustic-jazz arrangements (by producer Kamau Kenyatta and pianist Chip Crawford), and his corduroy-warm baritone, pliant and powerful.
    • 79 Metascore
    • 80 Critic Score
    As for “Sweet Reward,” a marvelous moment-in-time narrative sketch delivered by the murmur of Doe’s voice, and “Rising Sun,” where a reverberating guitar line gives way to a singer sounding like a Sonoran Sinatra amid the song’s slow, swirling rise and fall--at moments such as those, Doe simply is making some of the most striking music of his career.
    • 77 Metascore
    • 80 Critic Score
    A bright, challenging album.
    • 79 Metascore
    • 90 Critic Score
    Simply stated, here’s the experimental-listening event of the year.
    • 75 Metascore
    • 80 Critic Score
    The short, melodically complex songs cohere into an often stunningly moving suite.
    • 82 Metascore
    • 80 Critic Score
    Smith creates wide-eyed compositions with textures that cascade over one another, capturing the vast celestial wonder of synthesized sound.
    • 76 Metascore
    • 70 Critic Score
    His first release in six years is filled with downtempo, darkly intimate tracks--eight of the 12 are ballads.
    • 79 Metascore
    • 90 Critic Score
    The Hope Six Demolition Project might derive its title from a Housing and Urban Development program designed to “transform public housing,” but the bleak picture Harvey portrays on this stunning album gives that title a second, and more ominous, meaning.
    • 71 Metascore
    • 80 Critic Score
    With producer Shane Fontayne adding dimension and tension to the music, Nash’s first album of originals in 14 years is marked by hope and possibility shadowed by loss.
    • 86 Metascore
    • 80 Critic Score
    “Welcome to Earth (Pollywog)” starts the record with a foreboding sound that moves to stately piano and tremolo strings before exploding into soul. Nirvana’s “In Bloom” is turned into sweeping countrypolitan; “All Around You” offers killer country soul. “A Sailor’s Guide” confirms that Simpson isn’t content to stand in the same place for very long.
    • 73 Metascore
    • 80 Critic Score
    Whatever the particular style, Little Windows is a series of sparkling pop gems; clocking in at just under 26 minutes, the only thing the record leaves you wanting is more of it.
    • 74 Metascore
    • 70 Critic Score
    Highlights album come when the songs stretch beyond Hawthorne’s solo comfort zone.
    • 81 Metascore
    • 80 Critic Score
    Gore brings together light and dark, airy and grinding, in a way that makes these seemingly disparate qualities seem like natural allies.
    • 66 Metascore
    • 70 Critic Score
    The result is less serious than his last release--the kind of thing we might hear back from aliens in response to radio waves that escaped our stratosphere long ago.