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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    • 70 Metascore
    • 58 Critic Score
    Glitterbust
    Though it too often lingers when a punch is needed, Glitterbust carries plenty of weight.
    • 74 Metascore
    • 50 Critic Score
    We Disappear
    The Thermals stay surface level both with their lyricism and their songwriting.
    • 74 Metascore
    • 58 Critic Score
    Stiff
    There’s only so much traction that can be extracted from adhering too closely to styles this familiar, and White Denim don’t provide quite enough edge to differentiate themselves.
    • 72 Metascore
    • 42 Critic Score
    New Misery
    Most of the songs on New Misery sound exactly like Smith Westerns without Kakacek. But here’s the rub: Omori’s voice is so airy that it works best when punctuated by meat-and-potatoes moments straight out of the classic rock cookbook.
    • 76 Metascore
    • 50 Critic Score
    Gensho
    Gensho doesn’t allow for much variation, character development, key changes, note changes, or even much respite at all from the nonstop noise.
    • 62 Metascore
    • 42 Critic Score
    This Is What the Truth Feels Like
    This Is What the Truth Feels Like lacks a cohesive style, instead focusing on narrative.
    • 51 Metascore
    • 42 Critic Score
    Us and the Night
    Us and the Night offers some bland, platitude-driven positivity, but only once shadowed by equally vague problems. There’s a thin line between building out themes for an album and getting stuck in a rut, and this one unfortunately sounds like it falls towards the latter.
    • 78 Metascore
    • 50 Critic Score
    Painkillers
    Like its namesake, this album feels more like a temporary solution than a permanent way forward.
    • 69 Metascore
    • 50 Critic Score
    Xtreme Now
    The Larsons have style and passion for days. They just need to nail down a poignant message to pair with all the flash.
    • 48 Metascore
    • 42 Critic Score
    Star Wars Headspace
    Likely under tight deadline, each track tends to live squarely within the individual producer’s standard production palette.
    • 58 Metascore
    • 50 Critic Score
    You and I
    It’s upon closer inspection that You And I starts to lose some of its luster. To start with, some of these songs have appeared in various forms across his live catalog.
    • 61 Metascore
    • 58 Critic Score
    We Can Do Anything
    The band’s ninth studio effort ebbs and flows, but in the end, it has enough going for it to merit its existence, which is more than a lot of bands can say about their second-stands.
    • 72 Metascore
    • 42 Critic Score
    United Crushers
    For once, the darkness of Poliça’s shadows are too muddled to make the climb through them worthwhile.
    • 71 Metascore
    • 50 Critic Score
    You Know Who You Are
    You Know Who You Are, on the other hand, is exactly the kind of thing we’ve come to expect from Nada Surf. Unfortunately, sometimes being reliable just isn’t enough.
    • 68 Metascore
    • 58 Critic Score
    iii
    Aside from “For U” (which features Charli XCX) and its Bloc Party aping intro, almost all of the fist-pumping energy of the debut has receded into a more mature, yet less thrilling persona.
    • 59 Metascore
    • 42 Critic Score
    This Unruly Mess I've Made
    TUMIM shows a regression to the mean, further establishing him as an above-average emcee whose runaway hype train simply ran off the tracks.
    • 75 Metascore
    • 58 Critic Score
    I Like It When You Sleep, For You Are So Beautiful Yet So Unaware of It
    There’s plenty of filler here, but at least it all works toward trying to inject some humanity back into the world of buzz-worthy pop music.
    • 70 Metascore
    • 58 Critic Score
    George Fest: A Night to Celebrate the Music of George Harrison [Live]
    The results are never bad, exactly, but they do fall somewhere between tribute and karaoke--call it Now That’s What I Call George.
    • 71 Metascore
    • 58 Critic Score
    99 Cents
    The fickle genres of 99¢ not only see Santigold challenging the rules of pop, but bettering herself. In writing for others, Santigold grows a backbone that defines her unapologetically bold sound, even if she doesn’t push her lyrics as far as she does the music.
    • 62 Metascore
    • 58 Critic Score
    Stranger Things
    Adequacy is a trait that fits Stranger Things well. It’s not a disappointment like Glow & Behold, but then it only occasionally manages to reach the heights of Yuck’s debut.
    • 70 Metascore
    • 50 Critic Score
    For All Kings
    For All Kings--like Repentless and Dystopia and Death Magnetic--is a safe and agreeable slice of thrash, but it’s also robotic, formulaic, and dated.
    • 62 Metascore
    • 42 Critic Score
    Banshee
    The Cave Singers belong to the same family tree as dynamic Seattle rock bands Murder City Devils and Pretty Girls Make Graves, which makes it even more frustrating that they keep resorting to the same old stomps and claps.
    • 69 Metascore
    • 50 Critic Score
    Need Your Light
    The results are mixed, surely, but not anything other than what they are.
    • 76 Metascore
    • 58 Critic Score
    Ultimate Care II
    Ultimate Care II, then, is less an album and more a curio, perhaps better suited as part of an installation art piece at Matmos’ inevitable MoMA retrospective in 20 years than as a proper album.
    • 75 Metascore
    • 58 Critic Score
    The Life Of Pablo
    West finds control on an album whose first half is uncharacteristically wild. The focus present on these tracks [Waves, FML, Real Friends, Wolves] are what is expected of West.... But the strength in these moments also highlight how rudderless the rest of Pablo often feels.
    • 75 Metascore
    • 58 Critic Score
    Pool
    For now, Pool is a pleasant enough record, but one that doesn’t quite hook into the emotions or memory.
    • 70 Metascore
    • 42 Critic Score
    Wonderful Crazy Night
    Under the production of John and T-Bone Burnett (back again after The Diving Board), the instrumentation on Wonderful Crazy Night is glossy yet separate, as if each part was recorded in its own high-end echo chamber. As a result, none of it sounds unified--more high-fidelity karaoke mix than a band that’s playing together.
    • 72 Metascore
    • 42 Critic Score
    The Psychedelic Swamp
    There are moments where the minimal psych additions actually undermine the band’s sound, as their hodgepodge, twitchy aesthetic has always been part of their charm. Ironically, the more polished, glossy synthesizers at times bog the album down.
    • 79 Metascore
    • 58 Critic Score
    Commontime
    The intangibles are all here in spades, and it’s obvious these guys have an exciting vision. Commontime is just arranged in such a way that the album’s contents are thrown into disarray.
    • 72 Metascore
    • 58 Critic Score
    Is the Is Are
    It’s an overstuffed, yet often enthralling record by a band revealing depths that weren’t as apparent before.
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