Consequence's Scores

For 4,040 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:
4040 music reviews
    • 64 Metascore
    • 60 Critic Score
    There's an unsettling haze that inches along with Better Luck Next Life, due in part to vocal duties shared among the off-kilter pairing of Jeremy Cox and Jigmae Baer.
    • 73 Metascore
    • 60 Critic Score
    While the album as a whole can provide a generally good listen, it may collect dust in just a month's time.
    • 70 Metascore
    • 60 Critic Score
    The album might be a brooding thought battle, but with the support of dreamy, female sopranos, the burdens become bearable.
    • 70 Metascore
    • 60 Critic Score
    Songs does not kill Rusko's brostep monster. It just drastically smooths out the edges and makes it a bit more ready for popular consumption.
    • 69 Metascore
    • 50 Critic Score
    On Mouseman Cloud, his fifth solo album in the past two years, Pollard's craft runs a bit stale, impressing more with quantity of ideas than actual substance.
    • 77 Metascore
    • 60 Critic Score
    Year Zero probably would have worked better as a more condensed EP featuring only the new material.
    • 67 Metascore
    • 50 Critic Score
    A definite mixed bag, the first half of this debut shows some serious power, while the latter merely lingers.
    • 78 Metascore
    • 60 Critic Score
    Mostly, Elephant & Castle captures the sensual possibilities of electronica without settling into well-rubbed grooves.
    • 68 Metascore
    • 40 Critic Score
    For this sort-of-but-not-quite comeback album, move right along.
    • 70 Metascore
    • 60 Critic Score
    Best Behavior has its share of highlights, as did their previous outing, %, but fails to deliver as a long-player. In the end, what we are left with are a handful of excellent singles, and sometimes that can be just enough to get the party started.
    • 64 Metascore
    • 40 Critic Score
    It's a retread of almost everything she's said before in the past 30 years, and though ultimately catchy, it lacks any subtlety or nuance to make you feel this is doing anything but reaching.
    • 71 Metascore
    • 60 Critic Score
    Too many things happen here, from the Brick Squad-type rave-ups to Ocean's R&B laments, for it to ever sound like a truly unified, full-length group project.
    • 70 Metascore
    • 60 Critic Score
    For the most part, though, this show feels like two different concerts, one Veloso's and the other Byrne's.
    • 72 Metascore
    • 60 Critic Score
    It's a watered-down Earle, perhaps more than we'd expect, but it works.
    • 75 Metascore
    • 60 Critic Score
    Overall, this is a very accessible album, but it might not be enough to push anyone from one camp into the other.
    • 59 Metascore
    • 60 Critic Score
    Killing Time brandishes an entertaining personality that breathes fresh life into a tried and true trend.
    • 72 Metascore
    • 60 Critic Score
    Port of Morrow captures Mercer in a different era, and although questionable at times, it's a fruitful adventure that requires a little swinging and paddling.
    • 44 Metascore
    • 40 Critic Score
    His latest work, Hell in a Handbasket, however, takes the success of Teddy Bear and pushes it a few awful steps backward.
    • 67 Metascore
    • 60 Critic Score
    While the album will draw you in, you may find it hard to stay there until the last track.
    • 52 Metascore
    • 60 Critic Score
    Nothing's wrong with stylized (uber- or otherwise) music (Paul's Boutique was, after all). But it helps when the craft behind the glitz is just as compelling.
    • 68 Metascore
    • 50 Critic Score
    Yellow Ostrich teeters on the thin line between self-indulgent and meditative on Strange Land.
    • 75 Metascore
    • 60 Critic Score
    This is just a starting point, but it's obvious he's found his footing.
    • 50 Metascore
    • 40 Critic Score
    The album lacks the urgency of successful rap and rock, instead wallowing in a blah middle ground in its best moments.
    • 77 Metascore
    • 60 Critic Score
    Not all listeners are likely to enjoy the moments of instrumental experiments, but the varying forms of psych rock that pack the 53 minutes of Beard, Wives, Denim are enough to please both fans of Pond and those waiting for a Tame Impala follow up.
    • 75 Metascore
    • 60 Critic Score
    While captivatingly evil at points, the absence of the hooks that made It's Frightening so exceptional can make Milk Famous a difficult match.
    • 67 Metascore
    • 60 Critic Score
    The album proves worthy enough for the wait, namely due to its shining moments that outweigh the surrounding pitfalls.
    • 69 Metascore
    • 60 Critic Score
    Disappears have created a dark, at times dancey, record that very rarely lets up.
    • 68 Metascore
    • 60 Critic Score
    A more intimate look at both the man and the musician.
    • 67 Metascore
    • 50 Critic Score
    The downside of All of Me lies in the fact that this album arrived just a little too late.
    • 64 Metascore
    • 60 Critic Score
    It's wise and at times gorgeous but ultimately still processing the past and not ready to take risks.