Consequence's Scores

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For 4,039 reviews, this publication has graded:
  • 44% higher than the average critic
  • 4% same as the average critic
  • 52% lower than the average critic
On average, this publication grades 4 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Channel Orange
Lowest review score: 0 Revival
Score distribution:
  1. Positive: 2,753 out of 4039
  2. Mixed: 1,215 out of 4039
  3. Negative: 71 out of 4039
4039 music reviews
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    • 63 Metascore
    • 50 Critic Score
    Simulation Theory
    Muse’s firm embrace of electronic tropes risks fragmenting their fan base, particularly those who had been by their side since their earlier days and would find certain elements of Simulation Theory to sound shockingly foreign. ... Listeners who had previously revelled in the moments where Muse dipped their toe into electronica will delight in finally seeing them cannonball into the pool. It’s polarizing for sure, but that’s not necessarily a bad thing.
    • 69 Metascore
    • 58 Critic Score
    Forever Neverland
    MØ deserves credit for consistency; almost every song on Forever Neverland is pleasant enough, but few rise above “pleasant.” The everything-is-a-hook songwriting style works better in small doses.
    • 60 Metascore
    • 50 Critic Score
    Quavo Huncho
    QUAVO HUNCHO ends up being a half-and-half affair: half making it easy to hit the skip button and the other half highlighting the talents Quavo brings to Migos.
    • 53 Metascore
    • 58 Critic Score
    Anthem of the Peaceful Army
    On their debut, Greta Van Fleet proves their ability to resurrect the sounds of the past, but not necessarily that they’re ready to make those sounds into something they truly own.
    • 80 Metascore
    • 58 Critic Score
    C'est La Vie
    C’est La Vie has moments of real beauty and depth while reflecting on fatherhood and settling down. But Houck should keep pushing into the strange, uncomfortable places where his best music gets made; now’s not the time to shrug it off.
    • 73 Metascore
    • 58 Critic Score
    Art of Doubt
    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.
    • 73 Metascore
    • 50 Critic Score
    Render Another Ugly Method
    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.
    • 73 Metascore
    • 50 Critic Score
    Big Red Machine
    There are moments when it feels admirable in its scope and ambition, but ultimately, the pure intentions get lost in the noise.
    • 69 Metascore
    • 42 Critic Score
    Thank You for Today
    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.
    • 65 Metascore
    • 42 Critic Score
    Teatime Dub Encounters [EP]
    Something about the tossed-off quality of Teatime Dub Encounters feels like a missed opportunity.
    • 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.
    • 67 Metascore
    • 50 Critic Score
    Scorpion
    Unsurprisingly, his charm has worn thin. What’s left without it is a body of work that is self-indulgent, largely evasive, and frankly boring when the beat is not quite strong enough to steady the ship.
    • 73 Metascore
    • 50 Critic Score
    The Now Now
    For now, Gorillaz seem content to oscillate between extremes, a futuristic pop powerhouse that cannot decide what the future looks like.
    • 58 Metascore
    • 42 Critic Score
    Nasir
    His lyricism, though timely at points, is largely impersonal if not flat-out pedestrian and makes NASIR the first album in Nas’ catalog that Nas has failed to show up for.
    • 73 Metascore
    • 58 Critic Score
    Love is Dead
    Many of these songs will soar in arenas and on festival main stages. They’re expansive, epic, and Mayberry’s powerful voice never wavers. But that openness comes at a price, and throughout Love Is Dead, every time CHVRCHES have the chance to get stranger, messier, and more unique, they rein in their eccentricities, going cleaner and more general.
    • 76 Metascore
    • 58 Critic Score
    SR3MM
    On Sr3mm, Discs One, Two, and Three are all hanging out on the same street corner. There are plenty of interesting moments. But it would have been nice to go on a journey.
    • 51 Metascore
    • 42 Critic Score
    Beerbongs & Bentleys
    “Same Bitches” sounds like a song Ty Dolla $ign once made and ultimately scrapped, and Post was more than happy to turn another man’s trash into his treasure, no matter how awkward or forced he sounds among more natural fits G-Eazy and YG.
    • 63 Metascore
    • 58 Critic Score
    My Dear Melancholy, [EP]
    My Dear Melancholy, has cohesion, but it’s a listless, murky sound that never unhinges the way you want it to. Had he pushed a little further, it could have made for something more substantial, rather than walking up to the cusp and then backing down.
    • 60 Metascore
    • 42 Critic Score
    Stone Temple Pilots [2018]
    While this new self-titled album may point to a band dedicated to writing a new chapter for itself, the music they’ve made here only acts as the tentative (and skippable) introduction.
    • 77 Metascore
    • 50 Critic Score
    Little Dark Age
    There are some sweet moments on Little Dark Age and some stale ones. More often than not, Andrew VanWyngarden and Ben Goldwasser lapse back into a sardonic mode that sounded a whole lot better in 2007 than it does in 2018.
    • 77 Metascore
    • 58 Critic Score
    No Cross No Crown
    C.O.C. stuck to their guns at the beginning of the decade, and now they’ve got a more formidable arsenal behind them. If there’s something they could learn from their Animosity days, though, it would be keeping a slim track list.
    • 59 Metascore
    • 42 Critic Score
    Rubba Band Business: The Album
    Rubba Band Business, is, unfortunately, more of the same.
    • 63 Metascore
    • 42 Critic Score
    Songs of Experience
    Songs of Experience is an album where the band’s best and worst songs of this century can exist next to each other, where vast rewrites make it apparent that multiple rounds of sessions went into the finished product.
    • 59 Metascore
    • 58 Critic Score
    Low in High School
    If you’ve loved his music since The Smiths, and their music actually brings you joy, well, then there are things to be found on Low in High School that could possibly, maybe, present a solid argument for attempting to find a way to suck the goodness from this album ... while spitting out the pulp that is Morrissey himself.
    • 72 Metascore
    • 58 Critic Score
    Glasshouse
    Though Glasshouse has its fair share of misfires and middling material, it’s never for a lack of vision. Even when songs veer towards the pristine inoffensiveness of a Sam Smith, Ware’s affable personality is largely present.
    • 64 Metascore
    • 58 Critic Score
    The Saga Continues
    While The Saga Continues engenders enough wistful reminiscences to satisfy the core, it provides shockingly little in the way of memorable moments.
    • 68 Metascore
    • 58 Critic Score
    The Desaturating Seven
    Conceptually big but musically slight, this return of the early ’90s Primus lineup promises a lot but delivers only fragments of what we know this band is capable of.
    • 58 Metascore
    • 42 Critic Score
    Younger Now
    Just as things seem a little promising, the limp “Thinkin'” struts in like a Carrie Underwood c-side and firmly sets the tone for the record’s toothless closing third.
    • 58 Metascore
    • 50 Critic Score
    Now
    The whole album feels like it has been flattened out for the sake of streaming services. Without the big, chewy hooks, the songs tend to bleed together indistinguishably in hindsight.
    • 81 Metascore
    • 50 Critic Score
    Visions of a Life
    Visions of a Life is often full, seeming to overflow. But the substance is lacking, resulting in a tiring trip through a band gamely trying not to merely cover itself.
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