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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    • 64 Metascore
    • 58 Critic Score
    No, No, No
    No No No is agreeable front to back, but it’s miles away from the youthful, heartfelt, inspired work of Beirut’s past--a world that may be too washed over with sadness to ever truly pull exuberance from again.
    • 68 Metascore
    • 58 Critic Score
    Higher Truth
    Higher Truth ironically doesn’t strive for anything higher. It stakes its claim in the rich soils of the middle ground, a place that values intimacy above innovation, quiet truths above the ones that scream. And it’s all the better for it.
    • 65 Metascore
    • 50 Critic Score
    Pagans in Vegas
    At best, Pagans in Vegas recalls the heights that Metric once reached. Back then, they made it look easy, foreshadowing mainstream pop years in advance. They no longer sound like they can see the future, and even sometimes sound stuck in the past.
    • 70 Metascore
    • 58 Critic Score
    Good Sad Happy Bad
    As a document of reunion between friends, Good Sad Happy Bad feels honest enough. On its own, it hits a note too lethargic and too muted to stick the way Levi’s past work has done.
    • 66 Metascore
    • 58 Critic Score
    So There
    Folds’ gifts for narrative and composing are clear, but fusing the two more fluidly could be something magical.
    • 78 Metascore
    • 50 Critic Score
    The Original Faces
    The Original Faces is full of blurred notes. It seems Harris, even if presenting a new authenticity, can’t shape it into recognizable form.
    • 60 Metascore
    • 42 Critic Score
    Miley Cyrus & Her Dead Petz
    The new Miley Cyrus record is a huge mess, but at least it’s an honest one.
    • 70 Metascore
    • 50 Critic Score
    Anthems for Doomed Youth
    There’s enough fun here to justify Anthems’ existence, which really is a lot to say for an album that for so long seemed like it would never exist. If it acts as a one-off return for fans, it’s an amiable, if un-revelatory set.
    • 76 Metascore
    • 58 Critic Score
    Yours, Dreamily
    Auerbach got the chance to dial down the tempo and warm up the mood with his friends, and if this side gig doesn’t eclipse his main one, at least it has him flexing out of his mold.
    • 68 Metascore
    • 50 Critic Score
    Everybody's a Good Dog
    Diane Coffee is a rock-solid reenactment, and if you haven’t already worn the grooves down on Electric Warrior, you might even be able to have some fun with it. But a costume is a costume, and this one hardly passes for a disguise.
    • 77 Metascore
    • 58 Critic Score
    What Went Down
    Taking a large musical step forward was the right move for Foals to make; smoothing the album out repeatedly until it becomes flat wasn’t.
    • 66 Metascore
    • 58 Critic Score
    And the Wave Has Two Sides
    And the Wave Has Two Sides might functionally serve for constant, heady background atmosphere, but it won’t help in understanding what ON AN ON intend their music to stand for.
    • 73 Metascore
    • 50 Critic Score
    Stuff Like That There
    It doesn’t do much to suggest any new insight into the iconic band or their sound. The collection is a pleasant reminder of their covering prowess, something that was likely fun to make and enjoyable for serious fans, but not much else.
    • 76 Metascore
    • 58 Critic Score
    Depression Cherry
    Maybe the best thing about dreams are the surprises we find there, that there is risk involved for it all to turn bad without much notice. Depression Cherry lacks these stakes, and the result is a dream that’s hard to remember once you’re outside of it.
    • 83 Metascore
    • 58 Critic Score
    High
    It turns out they were right to push through the breakup, but a few bleak songs dampen the high they’re chasing after as a result.
    • 69 Metascore
    • 58 Critic Score
    Music for Dogs
    While Lynch and Rasmussen manage a keen awareness of how technology will continue to shape us, the way they process that fear feels tired, not adding anything new to the conversation.
    • 75 Metascore
    • 58 Critic Score
    Risveglio
    The album feels like a careful study of new techniques, but the end result never breaks into more than a simmer.
    • 75 Metascore
    • 58 Critic Score
    High Country
    On a practical level, High Country is a decade-old band trying out different material. Sometimes it works, sometimes it doesn’t.
    • 64 Metascore
    • 50 Critic Score
    All Around Us
    All Around Us runs into the danger of stating things too plainly, of letting easy answers edge out space for complexity and depth. It feels like Marela wanted to make a weird album, but the one she’s made is mostly just pretty.
    • 73 Metascore
    • 58 Critic Score
    Love Is Free [EP]
    Robyn, her keyboardist Markus Jägerstedt, and the late producer Christian Falk dig into retro dance floor techniques to produce some solid, if unexceptional club tracks.
    • 65 Metascore
    • 50 Critic Score
    Morning World
    Teen Daze’s latest effort is ultimately a pastoral that succeeds when it is allowed to gallop forward on the strength of its skilled instrumentation, and falters whenever Jamison opens his mouth.
    • 52 Metascore
    • 50 Critic Score
    The State of Gold
    The State of Gold is a perfectly competent album, but after Pond’s 17 years in the music biz, competent isn’t enough. The primary problem with The State of Gold is that it exhibits a failure of imagination.
    • 70 Metascore
    • 42 Critic Score
    Green Lanes
    Cooper and Hoare not only borrow, but fully adopt characteristics of traditionalist rock, like inoffensive lyrics, bland instrumentation, and unfettered nostalgia, all of which makes Green Lanes barely discernible from hundreds of other albums.
    • 73 Metascore
    • 50 Critic Score
    Death Magic
    There’s a locked-away sadness to Death Magic’s deadened, industrial take on electronic music.
    • 67 Metascore
    • 58 Critic Score
    Radiance And Submission
    Unfortunately, the majority of the tracks here lack that auditory lock-and-key interweave. Instead, Silver attempts to force stylistic egalitarianism, the two sides of his composition awkwardly failing to join.
    • 74 Metascore
    • 42 Critic Score
    Marks to Prove It
    Sadly, Marks To Prove It puts all its work into weighty matters instead of incorporating the quintet’s funny bone.
    • 69 Metascore
    • 50 Critic Score
    Momentary Masters
    This is a charming album without spirit. Hammond’s singing is pedestrian at best and his writing often dry.
    • 61 Metascore
    • 58 Critic Score
    Sing Into My Mouth
    For diehard Iron and Wine or Band of Horses fans, Sing Into My Mouth will make a pleasant supplemental entry into their collections, but for everyone else, it seems to be a record much more fulfilling for its creators than for listeners.
    • 62 Metascore
    • 50 Critic Score
    How Does It Feel
    As a sophomore album, How Does It Feel delivers more of the same as MS MR’s debut, lacking innovation or development.
    • 61 Metascore
    • 58 Critic Score
    FWA (Free Weezy Album)
    Occasionally, Wayne sounds either torn about the kind of music he wants to be making or even just short on ideas.
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