Consequence's Scores

Select another publication »
For 4,036 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: 2,751 out of 4036
  2. Mixed: 1,214 out of 4036
  3. Negative: 71 out of 4036
4036 music reviews
view
per page
    • 68 Metascore
    • 33 Critic Score
    Twelve Carat Toothache
    Twelve Carat Toothache feel thrown together and incomplete. Post Malone did himself a favor by limiting the run time of the LP, but if he’s championing quality over quantity, the quality has to be more incisive, specific, vulnerable, and holistic.
    • 53 Metascore
    • 0 Critic Score
    Jesus Is King
    Jesus Is King is impersonal, repetitive, boring, and somehow too long at just 27 minutes. Some albums grow deeper with subsequent listens; Jesus Is King shrinks.
    • 57 Metascore
    • 25 Critic Score
    No. 6 Collaborations Project
    On this record, he’s taking a stab at, well, every genre. It doesn’t pay off, though, because this effort results in a sense of emptiness, an abyss of authenticity or real feeling. And that’s the problem: Despite writing “emotional” ballads for a huge part of his career, none of us really have any idea who Ed Sheeran is.
    • 70 Metascore
    • 33 Critic Score
    Kind Heaven
    Farrell’s ambition is an admirable quality he wears on his sleeve, and at times, he showcases an impressive stylistic versatility. However, throughout this album, he takes indiscriminate left turns, and it ultimately makes Kind Heaven a needlessly gratuitous and pretentious mess.
    • 46 Metascore
    • 25 Critic Score
    Harverd Dropout
    The Florida rapper’s limited strengths and many weaknesses become highly detectable on Harverd Dropout. Under Pump’s control, the album piles up songs without structure, lines without meaning, and hooks without melody; it’s utterly tasteless.
    • 59 Metascore
    • 33 Critic Score
    The Beautiful & Damned
    There’s no interruption, no welcome silence between discs one and discs two. No, just 20 songs, a brutal slog of stacks and condoms and stacks and condoms and occasionally a disembodied ass without any other parts of a woman sighted.
    • 50 Metascore
    • 0 Critic Score
    Revival
    Revival is the most pleasureless record he’s ever made, so stymied by his worst tendencies that like many other inept apologies from 2017 it only points out how much further he has to go rather than how far he’s come.
    • 71 Metascore
    • 33 Critic Score
    reputation
    With Reputation, Swift seemingly has the idea that bigger, wider, and louder is necessarily better, but the dopamine rush that modern pop music can so reliably produce never arrives.
    • 46 Metascore
    • 33 Critic Score
    One More Light
    A muddled mess of a record from a band that completely abandoned any sense of identity.
    • 67 Metascore
    • 33 Critic Score
    Hamburg Demonstrations
    The album falls flat in just about every aspect. It’s not offensively bad, it’s inoffensively boring.
    • 56 Metascore
    • 25 Critic Score
    Fitz and the Tantrums
    Fitz and the Tantrums is an album that feels, by some bizarre paradox, like both a product of contemporary market forces and a depressing relic of an era of the music industry best forgotten.
    • 75 Metascore
    • 33 Critic Score
    More Rain
    The wheels on the record don’t just tremble and squeak--they completely detach. Eight solo albums in, M. Ward’s indie folk wagon finds itself stuck in the mud.
    • 65 Metascore
    • 33 Critic Score
    Taking One For The Team
    When their punches land, you want to bless these guys for sticking to their guns and not growing up. But the misses are real and painful, and they make Taking One For the Team a far more embarrassing listen than it needed to be.
    • 61 Metascore
    • 33 Critic Score
    Victorious
    The riffs are certainly bigger and ballsier than those on the past few records, but Stockdale seems to have lost his personal line to the gods of the ’70s and is left settling for the lesser players.
    • 59 Metascore
    • 33 Critic Score
    Matter
    The world Grobler crafts on Matter isn’t colored with the iridescent shades of blue from his early career; it is now a palate so bright and garish that it hurts the eyes.
    • 51 Metascore
    • 33 Critic Score
    Ardipithecus
    So much of Ardipithecus is impenetrable, even distancing. The album is a headscratcher, one that shows plenty of promise but also a personality abstruse to the point of mystification.
    • 44 Metascore
    • 33 Critic Score
    Speedin' Bullet 2 Heaven
    As it stands, this album feels like a few good ideas mired in a mess of half-formed sketches, rough recordings, and simple cliches.
    • 63 Metascore
    • 33 Critic Score
    Purpose
    Skrillex and Diplo successfully serve up twitchy beats ready to incite anything with a pulse, but the sentiment at the album’s core leans toward insufferable.
    • 56 Metascore
    • 25 Critic Score
    Montage Of Heck: The Home Recordings
    Vinyl is not a good format for Montage of Heck, an album that requires a fair amount of skipping around just to qualify as tolerable. I’m using the word “album” loosely here, because this one fails as an album in almost every conceivable way, jettisoning any sense of unity or context in favor of positioning itself as an aural complement to Morgen’s documentary.
    • 55 Metascore
    • 25 Critic Score
    Immortalized
    With Immortalized, Disturbed don’t even try.
    • 48 Metascore
    • 16 Critic Score
    Sirens
    The most remarkable aspect of Sirens, aside from its general awfulness, is how unnecessary it all feels.
    • 56 Metascore
    • 33 Critic Score
    Dancing at the Blue Lagoon
    Rather than braving the road less traveled, Yudin doubles down on his replication of trite indie rock tropes.
    • 54 Metascore
    • 33 Critic Score
    Déjà-Vu
    Full of internal references to diamonds, fires, love, music, and seizing the moment whenever possible, Deja Vu’s lyrics play like pop music Mad Libs. When they’re not bland, some verge on violently tone-deaf.
    • 49 Metascore
    • 25 Critic Score
    To The Stars... Demos, Odds And Ends
    To the Stars… is a messy, frantic collection that suffers from a lack of focus and extremely poor sequencing.
    • 60 Metascore
    • 33 Critic Score
    Smoke + Mirrors
    The problem lies in their vision, and the fact that it’s either too narrow or too cynical to take seriously.
    • 68 Metascore
    • 25 Critic Score
    We Are Undone
    We Are Undone, masters the sinking feeling of sharing a sweaty car ride or claustrophobic interrogation room with the bad cop/existential mindfuck cop team of Marty Hart and Rust Cohle.
    • 54 Metascore
    • 33 Critic Score
    No Fixed Address
    Though only 11 tracks long, No Fixed Address feels rushed and half-hearted.
    • 55 Metascore
    • 33 Critic Score
    Hold My Home
    Unfortunately, Hold My Home is not another baby step in the right direction, but rather a collection of slack-jawed tunes surrounding one or two borderline gems.
    • 72 Metascore
    • 33 Critic Score
    Jungle
    Jungle is a polished debut, but there’s no sense that J and T (or whoever is actually singing here) feel any sort of commitment to their lyrics, their arrangements, or anything beyond producing neatly packaged songs that slide them into festival slots.
    • 51 Metascore
    • 33 Critic Score
    We Are Only What We Feel
    We Are Only What We Feel, if you go in expecting very little, can provide some background noise pleasure. But it only lights up for three seconds at a time. And then it’s trash.
    • 67 Metascore
    • 25 Critic Score
    High Life
    You can applaud them for chasing a creative high, but from two artists of their caliber, listeners should expect something better than High Life.
    • 74 Metascore
    • 33 Critic Score
    Shaken Up Versions
    It’s best to approach The Knife’s Shaken-Up Versions with caution, even though the blade has dulled this time around.
    • 61 Metascore
    • 25 Critic Score
    Donker Mag
    Die Antwoord’s bombastic concerts and larger than life stage personas are not to be missed. However, this wild energy and devil may care attitude yield weaker dividends after being bottled and pasteurized in a studio that appears staffed by a cadre of rejected Saturday Night Live sketch writers.
    • 75 Metascore
    • 25 Critic Score
    Government Plates
    The focus is less on total mayhem and more on creating droning dystopian soundscapes that MC Ride might occasionally hop on to yell over.
    • 58 Metascore
    • 33 Critic Score
    Supermodel
    Equally appropriately, with increased attention comes increased expectations and increased scrutiny, neither of which are met by this sophomore release.
    • 70 Metascore
    • 33 Critic Score
    The Cautionary Tales of Mark Oliver Everett
    What The Cautionary Tales needs is a prudent pruning. This album struggles to appear deeper than a common puddle.
    • 59 Metascore
    • 33 Critic Score
    Sweet Disarray
    For someone who records under his own name and not that of a collective, Croll remains a mystery, a patchwork of influences content to blend in, not to stand out.
    • 74 Metascore
    • 25 Critic Score
    Teeth Dreams
    From the sloppy production and uninspired arrangements to the fact that Tad Kubler hasn’t written a memorable guitar lead since 2008, Teeth Dreams sounds like the characters in its songs: past its prime and just trying to get by, but with the past creeping back in and not letting anyone forget it.
    • 60 Metascore
    • 33 Critic Score
    Satellite Flight: The Journey to Mother Moon
    Maybe it’s because we’ve grown accustomed to Cudi’s style and the influence it’s had over other artists, but at this point, it just sounds a little bit stale.
    • 66 Metascore
    • 16 Critic Score
    Angel Guts: Red Classroom
    The songs that are okay sound derivative; the songs that sound new are oozing messes that rough up everything that’s ever made Xiu Xiu work.
    • 71 Metascore
    • 33 Critic Score
    After the Disco
    The songs, sonically and structurally, don’t sound contemporary at all. At best, they sound like disco by way of these two artists, both of whom have been making similar songs for five, maybe ten years.
    • 64 Metascore
    • 30 Critic Score
    Because the Internet
    Rather than provide a solution, or even insight into the Internet reality, Gambino simply adds to the frustrations. The big reveal at the album’s conclusion is that he was (likely) trolling all the trolls, but what about the fans?
    • 65 Metascore
    • 30 Critic Score
    Nina
    Of course, it doesn’t make sense for Stewart to try to stand toe-to-toe with Simone’s vocals, but the close-mic’d, barely there vocal performance offered on Nina is a tragedy for a man who is a talented singer in his own right.
    • 65 Metascore
    • 30 Critic Score
    Talk a Good Game
    ["Dirty Laundry" is] so raw and visceral that we finely see her as intended: vulnerable, flawed, and totally real. She tries replicating that authenticity, but there’s only the uber-cliché “I don’t care; we’re over” anthem “Gone” and the album’s superficially enjoyable title track, which Rowland approaches with some intriguing level of nuance.
    • 68 Metascore
    • 30 Critic Score
    Dogs Eating Dogs [EP]
    DeLonge's forgettable chord progressions feel like an afterthought to lyrics that try too hard to fit into Blink's more morbid adult persona of late.
    • 55 Metascore
    • 20 Critic Score
    Medicine
    Despite the occasional glimpse of colorful ingenuity, Medicine is an utterly sour experience.
    • 72 Metascore
    • 30 Critic Score
    Information Retrieved
    All Information Retrieved provides is leaking creative inertia.
    • 57 Metascore
    • 30 Critic Score
    North
    It's unclear what the band has been doing during its lengthy hiatus (their last full-length was released in 2002), but keeping up with current music trends was evidently not on the to-do list.
    • 55 Metascore
    • 30 Critic Score
    Based on a T.R.U. Story
    The album is at its best when guests take the microphone and falls short nearly everywhere else.
    • 60 Metascore
    • 20 Critic Score
    Living Things
    Breaking down barriers is not the forte of Top 40 rock music, but when you can't tell the difference between a Linkin Park track and something produced by a plebeian confusing dance beats for real drums, something has to give.
    • 53 Metascore
    • 30 Critic Score
    POP ETC
    Rather than bursting forth with something new and unique, they wind up rehashing stale sounds and leaving the listener with an entirely unmemorable experience.
    • 60 Metascore
    • 20 Critic Score
    Pink Friday: Roman Reloaded
    While it's a whopping 19 tracks, half the album is nothing more than bargain-basement pop knockoffs of everyone from Beyoncé to Keri Hilson.
    • 62 Metascore
    • 20 Critic Score
    Kids in the Street
    Kids in the Street is uninspired, '80s-laced material.
    • 66 Metascore
    • 30 Critic Score
    Anarchy, My Dear
    Parts of Anarchy, My Dear feel so unedited that it gets a little embarrassing for the listener, but when Say Anything collects itself, it has something to say.
    • 70 Metascore
    • 30 Critic Score
    Giant Orange
    An album desperate for texture, flavor, and risks, Giant Orange is the aural equivalent of middle-of-the-road musical tragedy.
    • 60 Metascore
    • 20 Critic Score
    Some Nights
    Skimming the top, fun. gets credit for its positive attitude and pocket full of catchy melodies, but on the whole, Some Nights remains forgettable.
    • 60 Metascore
    • 30 Critic Score
    Six Cups of Rebel
    [A] superficial lack of organization and purpose.
    • 57 Metascore
    • 30 Critic Score
    Unexpected Victory
    Victory isn't going to blow your mind by any means, but it's the first time in a long time a Wu-Tang brother has stumbled.
    • 60 Metascore
    • 30 Critic Score
    This Means War
    A deluge of whining that's lyrically incomprehensible and becomes sonically dull after one song.
    • 39 Metascore
    • 10 Critic Score
    BAYTL
    Just another unnecessary, forgettable mixtape.
    • 55 Metascore
    • 30 Critic Score
    Purple Naked Ladies
    When you boil it down, Purple Naked Ladies' biggest fault is that it's generic.
    • 58 Metascore
    • 30 Critic Score
    The Vision
    It's the uninspired and homogenous manner in which Joker goes about ironing out nearly everything that made his tunes memorable to begin with that makes The Vision one of the most disappointing debuts of the year.
    • 45 Metascore
    • 30 Critic Score
    Lulu
    Lulu is essentially a piece of shock art that's littered with vulgarity both lyrical and musical.
    • 58 Metascore
    • 20 Critic Score
    Overlook
    Taylor's whispery, timid voice sounds restrained on nearly every track. Coupled with repetitive lyrics and monotonous rhythms, Overlook is a yawn-inducing piece.
    • 35 Metascore
    • 30 Critic Score
    The Truth Is...
    This CD is worse than a nu-metal reprise, in that it doesn't give true ragers an outlet, but instead facilitates the same false machismo that tribal tats and fake bench-press numbers suggest.
    • 69 Metascore
    • 20 Critic Score
    Are You Falling in Love?
    Unfortunately, "Besides You" is the only song really worth mentioning. Everything else is so awash in a wall of buzzing noises, you'd think you were at the World Cup and surrounded by vuvuzelas.
    • 72 Metascore
    • 30 Critic Score
    BlackenedWhite
    The reissue of BlackenedWhite comes as a missed opportunity. Odd Future followers will likely have grabbed the expanded (and notably better) version when it was available free online a few months back; newcomers to the collective's output have better entry points elsewhere in their continuously-growing catalog.
    • 52 Metascore
    • 30 Critic Score
    Matthew Morrison
    Morrison has a talented voice, but you might as well stick to Glee to hear it.
    • 61 Metascore
    • 30 Critic Score
    Moment Bends
    It's always admirable when an artist or a band attempts to create a piece of music that differs from what came before. Unfortunately for Architecture in Helsinki, their new work fails as a cohesive whole, salvaged only by two or three songs here and there.
    • 53 Metascore
    • 20 Critic Score
    Fishin' for Woos
    Fishin' For Woos, the surprising 11th studio album from the band, lacks just about everything a record needs to be taken seriously.
    • 61 Metascore
    • 30 Critic Score
    Boys and Diamonds
    Boys and Diamonds ends up being hindered by the the same awkward, mock-ethnic yelps the duo seems to feel the need for on every other song they cut and the empty, tinny nonsense they seem to arrive at all too often as they attempt to craft memorable pop.