Consequence of Sound's Scores

For 3,518 reviews, this publication has graded:
  • 40% higher than the average critic
  • 4% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 5.1 points lower than other critics. (0-100 point scale)
Average Music review score: 67
Highest review score: 100 Blonde
Lowest review score: 0 Revival
Score distribution:
3518 music reviews
    • 91 Metascore
    • 91 Critic Score
    Iridescence is full-to-bursting; it’s like almost eating too much food, almost drinking too much booze; it’s getting close to too much, and still asking for more.
    • 76 Metascore
    • 58 Critic Score
    Despite presenting a more interesting record after 2015’s tedious Pagans in Vegas, Metric undoubtedly falter on their latest release. Their emphasis on guitars has certainly helped them, but Art of Doubt feels lacking in creativity. It’s a safe album, but safety can be insipid.
    • 91 Metascore
    • 91 Critic Score
    It’s groovy and funky and sultry, and it takes things seriously while still being joyful. It encourages freedom of form, in the sense of both body and art. It’s the perfect second album for Christine and the Queens.
    • 70 Metascore
    • 75 Critic Score
    For her sixth studio album, Carrie Underwood has taken some modest political risks without changing her full-throated style. She knows what she’s good at, and Cry Pretty is full of the kind of songs that made her one of the most popular artists in the world.
    • 93 Metascore
    • 91 Critic Score
    The pleasure of Room 25 is in hearing a master wordsmith turn words into feelings so that the feelings linger long after the words have stopped.
    • 73 Metascore
    • 50 Critic Score
    Lyrics that need to be read aloud to be understood, plus an unsettling discombobulation of tempos, dynamics, and various internal compositions, plus Leschper’s monotonous drone, all co-existing for nearly one hour becomes mentally exhausting and almost frustrating halfway through Render.
    • 82 Metascore
    • 91 Critic Score
    Collapse is another entry in a remarkable run of work that Aphex Twin has been releasing since his return from a long and clearly necessary hiatus. It may feel like he is on cruise control a bit, but James’ coasting is any other artist’s magnum opus.
    • 77 Metascore
    • 75 Critic Score
    A more focused sonic direction would have been more potent and a more adventurous one would have been more exciting. Still, every track delivers a bruising and it’s hard to imagine anyone interested in the group being disappointed by the album.
    • 84 Metascore
    • 91 Critic Score
    It stands tall as a late candidate for the year’s best rock record. Spiritualized has added yet another chapter to its wild, dreamlike musical legacy, proving that rock isn’t dead and that maybe everyone else just isn’t trying enough.
    • 62 Metascore
    • 67 Critic Score
    As a whole, the album may not be impeccable, but it’s the best he’s released since 2010.
    • 74 Metascore
    • 67 Critic Score
    Egypt Station is a minor entry in a major catalog, a Paul McCartney record for people who like Paul McCartney records.
    • 85 Metascore
    • 83 Critic Score
    Bloom is a fun record, dreamy and vulnerable and urgently horny. Sivan has a fresh perspective, and his force of personality enlivens tracks that otherwise might sound conventional. His best songs perform a kind of magic, with sentiments that feel universal to all of us and as personal as a fingerprint.
    • 76 Metascore
    • 83 Critic Score
    This is great pop music with an edge, a record full of good vibes and bad attitude that somehow manages to work everything out splendidly.
    • 73 Metascore
    • 50 Critic Score
    There are moments when it feels admirable in its scope and ambition, but ultimately, the pure intentions get lost in the noise.
    • 85 Metascore
    • 91 Critic Score
    Negro Swan is a grand work that gives credit to the pioneers of the culture while building a path forward within that framework, placing Hynes firmly in the canon as one of the most insightful musicians of his generation.
    • 73 Metascore
    • 67 Critic Score
    While not the strongest of the band’s second-era output, it’s a nice addition to Alice in Chains’ impressive discography.
    • 73 Metascore
    • 67 Critic Score
    Marauder is still Interpol, and it’s still pretty good. It’s got mood and emotion for days. But because the album is marred by nonexistent bass lines and, most concerningly, production and mixing choices that run completely at odds with Interpol’s natural strengths and most beloved idiosyncrasies, it’s nowhere near great.
    • 81 Metascore
    • 67 Critic Score
    It’s rare for an album with so many stunning moments to suddenly become so aggressively mediocre. Still, the highs of Sweetener outweigh the lows. But with such lofty highs, it’s hard to be content with the album that is and not think about what the album might have been.
    • 69 Metascore
    • 42 Critic Score
    Thank You for Today is Death Cab for Cutie’s weakest album of the decade and either a transition towards something greater or the first harbinger of creative decline.
    • 87 Metascore
    • 100 Critic Score
    Be the Cowboy shows that love and loss can be grand and small at the same time. That two minutes is more than enough time to melt down emotion into a pure concentrate and nearly drown yourself in it. That every moment can be a epic love story, that every heartbreak can be as hard and small as a pearl and just as coveted.
    • 70 Metascore
    • 75 Critic Score
    At this point, she’s like a Starbucks coffee, a consistent product with a reliable buzz. The next cup probably won’t change your life, but it might just get you through the day.
    • 71 Metascore
    • 75 Critic Score
    Though it doesn’t quite reach the heights of his first two, his new album, Stay Dangerous, is another solid project from one of the best on the West Coast.
    • 84 Metascore
    • 75 Critic Score
    The music might take your breath away, if the worst of the lyrics don’t make you roll your eyes. He’s very good at what he’s good at, but he’s not what you’d call well-rounded. Still, not everyone who has something to say, says it in words.
    • 81 Metascore
    • 83 Critic Score
    A solid album throughout, Vicious is slickly produced by Nick Raskulinecz (Mastodon, Alice in Chains), who helped give the disc the big sound that these songs deserve.
    • 65 Metascore
    • 42 Critic Score
    Something about the tossed-off quality of Teatime Dub Encounters feels like a missed opportunity.
    • 83 Metascore
    • 83 Critic Score
    Though brief, a tardy reprise of the adventurous sound that opens the release is an exciting display of The Internet’s true brilliance, which finds them absolutely nailing every transition and avoiding the anticlimactic ending suggested by a number of the preceding tracks with a pair of stone-cold bops.
    • 66 Metascore
    • 50 Critic Score
    Joy
    If one Ty Segall record a year isn’t enough for you, you’ll likely find enough muggy demo-grade fun amid Joy’s best moments. If you’re a dabbler who’s already given part of your 2018 to Freedom’s Goblin, though, you’re probably safe sitting this one out.
    • 78 Metascore
    • 75 Critic Score
    Longstreth may never be able to get out of the shadow of Bitte Orca, but Lamp Lit Prose finds him embracing his quirk, wit, and warmth, ending up with his brightest album yet.
    • 75 Metascore
    • 83 Critic Score
    Kim Gordon’s voice may have been the spark that lit the blaze, but now she’s using a guitar to conjure up sonic waves to keep pushing us forward.
    • 76 Metascore
    • 83 Critic Score
    Northern Chaos Gods is a source of comfort by showing that Immortal can weather seemingly any storm and come out strong. They might not actually be immortal, but the band, like their legend, show no signs of diminishing.