Clash Music's Scores

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For 3,878 reviews, this publication has graded:
  • 57% higher than the average critic
  • 5% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 1.3 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 Dead Man's Pop [Box Set]
Lowest review score: 10 Wake Up!
Score distribution:
  1. Positive: 3,248 out of 3878
  2. Mixed: 601 out of 3878
  3. Negative: 29 out of 3878
3878 music reviews
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    • 81 Metascore
    • 60 Critic Score
    Fabriclive 94
    There is a defining (and high-definition) period where the mix becomes less interactive, a little noodlier, and more prey to a mass observing sway.
    • 81 Metascore
    • 60 Critic Score
    Fabric 91
    This won’t run as smoothly as her DJ-Kicks bow of 2015, and it’s not a mix you’re allowed to get comfortable with, the Siberian’s non-conformist stance playing fast and loose with the ideals of cohesion, and letting the faders lead punters astray.
    • 81 Metascore
    • 60 Critic Score
    A Deeper Understanding
    However dreamy the music may be, mind, it's not all quite so heavenly. The main distraction is how overwrought it all is. This is especially prevalent in Granduciel's lyrics which he sings in whispered reverence.
    • 81 Metascore
    • 60 Critic Score
    Rainbow
    Rainbow is a muddled hotch-potch that offers little beyond the fact it heralds her return. It's great to have Kesha back--it really is--but let's hope the quality improves in future.
    • 80 Metascore
    • 60 Critic Score
    Mirror Traffic
    Malkmus' third (or fourth depending on which folklore you believe) outing with The Jicks, is a disappointing collection of hits and misses--with the latter winning on points.
    • 80 Metascore
    • 50 Critic Score
    Chubbed Up +
    Serious though he may intend to be, through the combination of Williamson’s Mr. Angry rants and Andrew Fearn’s tinny keyboards, Sleaford Mods do have a tendency to sound like a bit of a novelty.
    • 80 Metascore
    • 60 Critic Score
    Little Fictions
    Little Fictions, in the end, though a welcome sign of elbow gently progressing with their formula, is a step forward feels too hesitant.
    • 80 Metascore
    • 60 Critic Score
    The Incessant
    The Incessant has a wealth of great ideas baked into the sediment of a wholly unremarkable collection of songs but boasts enough personality to still be worth giving the benefit of your doubt.
    • 80 Metascore
    • 60 Critic Score
    Nearer the Fountain, More Pure the Stream Flows
    It won't appeal to those who prefer his party anthems and vibrant disco, but for those who want to see yet another side to this most prolific of musical minds, it's a voyage worth taking.
    • 80 Metascore
    • 60 Critic Score
    The Lady Killer
    As attempts at storming the mainstream go, this looks like a surefire winner, but musically it feels like a lesser take on Outkast's The Love Below.
    • 80 Metascore
    • 60 Critic Score
    Slow Knife
    You can't help but feel that the teasing at euphoria on Slow Knife would be a little less frustrating if the thing were allowed to crescendo further, and for some of that drumwork to be incorporated accordingly.
    • 80 Metascore
    • 40 Critic Score
    Reflektor
    ‘It’s Never Over’ is this band’s best TV On The Radio impression, and ‘Porno’ almost goes G-funk: a pleasant surprise. But undercooked electronics, impotent rhetoric, too-familiar crescendo-ing structures and an overall feeling that this needs further post-production attention render Reflektor an entirely substandard album.
    • 80 Metascore
    • 60 Critic Score
    Fixed Ideals
    Whilst sonically Fixed Ideals can vary in its impact, Lande Hekt’s lyrics tell a relatable story in a crafty way, carrying the record all the way through.
    • 80 Metascore
    • 50 Critic Score
    Side Effects
    Whilst for the most part this jam-session approach results in captivating instrumentals and intriguing points of sonic experimentation, at times it can become rather muddled, confusing and drawn-out.
    • 80 Metascore
    • 60 Critic Score
    Landlord
    While by no means poor, this album does little to advance the reputation he has already secured, as one of the UK’s most reliable rap suppliers.
    • 80 Metascore
    • 60 Critic Score
    Three/Three
    The Doom-helmed ‘Lil Mufukuz’ and Phat Kat’s ‘Bubble Up’ show the Dabrye-plus-MC chemistry at its best, but if there was ever a criticism of the previous entries in this trilogy, it was that Dabrye struggled when it came to trimming the tracklist. ... The same is unfortunately the case here too.
    • 80 Metascore
    • 60 Critic Score
    Arabia Mountain
    Production is loud and punchy and even the quiet bits aren't quiet, which makes all sixteen tracks in one sitting a bit like hard work.
    • 80 Metascore
    • 60 Critic Score
    Live from the Artists Den
    Soundgarden moved admirably forward with a strong new L.P, and while the performances missed some of the vitality of their youth, they still were able to invoke a tone and vibe all of their own.
    • 80 Metascore
    • 40 Critic Score
    Nothing Is True & Everything Is Possible
    Enter Shikari have the tools and drive to create something potentially mind-blowing, it’s just that they fell well short of the mark on this occasion.
    • 79 Metascore
    • 60 Critic Score
    The Price of Progress
    ‘The Price Of Progress’ is a perfectly functional Hold Steady record, no more and no less.
    • 79 Metascore
    • 60 Critic Score
    Daze
    This is electronic music both messy and menacing. Listen if you dare.
    • 79 Metascore
    • 50 Critic Score
    Lighting Matches
    Lighting Matches isn’t a bad album, but sadly it doesn't excel either.
    • 79 Metascore
    • 50 Critic Score
    Same As You
    With Polar Bear being fully paid-up jazzers, there's more of an understanding and utilisation of dynamics, which add to the pervading mood, yet the overall feeling is one of ennui.
    • 79 Metascore
    • 40 Critic Score
    Standards
    Considering the lucid, poignant albums to come to fruition from cabin writing retreats (Bon Iver’s ‘For Emma, Forever Ago’, Bruce Springsteen’s ‘Nebraska’ etc.)--Standards is an album that is almost completely devoid of such clarity and space.
    • 79 Metascore
    • 60 Critic Score
    American Interior
    A work of typically broad imagination, not everything on American Interior fully clicks into place. Yet when it does, there’s more than enough to suggest that Rhys need not cease his eternal voyaging.
    • 79 Metascore
    • 60 Critic Score
    Tip Of The Sphere
    This album is a black-belt in terms of song writing and instrumentation... but when McCombs’ lyrics can’t match up, Tip Of The Sphere sounds like it’s limping.
    • 79 Metascore
    • 60 Critic Score
    Rivers and Streams
    The music lacks the meditative quality of similar works like those by Philip Glass. In place of this, tracks like ‘Sunshimmers’ and ‘The Amazon: The Highlands’ produce a warmness that makes the album an agreeable experience, an experience that does not ensnare the listener’s attention.
    • 79 Metascore
    • 50 Critic Score
    Knockin' Boots
    The plethora of guest vocalists (J'Danna, BIXBY, Okmalumkoolkat, Heavy D. & the Boyz) means things stay relatively fresh, but more often than not, it's not enough.
    • 79 Metascore
    • 60 Critic Score
    There's More to Life than This
    Yes, the album title is an apt one; but despite its predictability, it proves to be surprisingly fulfilling as a run-of-the-mill house album.
    • 79 Metascore
    • 60 Critic Score
    Paradise
    Unfortunately their laudable desire to sound like the future rather than the past seems to have backfired, leaving ‘Paradise' a crop of good ideas that wear quickly on the ears. On the plus side this overly polished sound might help convert at least a few godforsaken You Me at Six fans onto real punk (that is, if real punk will have them).
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