Dot Music's Scores

  • Music
For 1,511 reviews, this publication has graded:
  • 55% higher than the average critic
  • 2% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 3.6 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Untitled
Lowest review score: 10 United Nations of Sound
Score distribution:
1511 music reviews
    • 72 Metascore
    • 80 Critic Score
    A serious album, with huge potential and no weak points, Disc-Overy is the coming of age UK hip hop has long needed but been too timid to reach for.
    • 53 Metascore
    • 80 Critic Score
    Sophie's chart positions may have dropped, but there's no dip in the quality pop on offer here.
    • 68 Metascore
    • 50 Critic Score
    Eliza Doolittle is an album of potential but, for the moment, that's all it is.
    • 65 Metascore
    • 60 Critic Score
    One crucial difference is The Pierces' music has changed from something that sounded like awkward whimsy a few years ago into something middle-aged people will like; and that's basically the key to selling loads of records these days.
    • 73 Metascore
    • 80 Critic Score
    It's big, it's shiny, it's unashamedly happy and we wouldn't want it any other way.
    • 75 Metascore
    • 80 Critic Score
    Few records will be made this year with such love and devotion, and you'll be able to tell it too. It's delicious.
    • 71 Metascore
    • 70 Critic Score
    She has already made pop interesting just as it was declining into irrelevance; now it's time for her to make it great again.
    • 73 Metascore
    • 80 Critic Score
    Certainly, it's by far the best album of his career to date--proof that going it alone was a decision that most certainly paid off.
    • 61 Metascore
    • 70 Critic Score
    Aficionados may balk at an actor trespassing on sacred ground, but even they'd have to admit, that for a white, middle-class Englishman, Hugh Laurie plays a surprisingly convincing bluesman.
    • 85 Metascore
    • 90 Critic Score
    Overall, Smother is brilliant, and a record by a band with a big brain, a generous heart, hungry ears and a permanent erection.
    • 85 Metascore
    • 70 Critic Score
    No doubt Helplessness Blues will win Pecknold further fame and success, whether he likes it or not.
    • 46 Metascore
    • 40 Critic Score
    An average album over produced, Love? has Lopez throwing everything she's got at relaunching her pop career and coming up shorter than anyone could ever have thought possible.
    • 83 Metascore
    • 90 Critic Score
    To anyone who's felt like they've been along to share even a little bit of that journey, it's an album-of-the-year contender that's bound to do nothing but delight.
    • 50 Metascore
    • 50 Critic Score
    If you can manage to put such quibbles aside--and it will be a struggle--Light After Dark has some redeeming features.
    • 68 Metascore
    • 60 Critic Score
    Jennifer Hudson would do well in stepping outside her comfort zone.
    • 68 Metascore
    • 50 Critic Score
    Worst of all, it turns out that commercially-minded dubstep is--perhaps inevitably--a much weaker prospect than its club counterpart.
    • 59 Metascore
    • 70 Critic Score
    It's certainly not Joy Division, but there's a bittersweet, melancholy and intelligent edge here that's worth investigating.
    • 68 Metascore
    • 70 Critic Score
    Though there are still moments of eyeball rolling twee, the darker undertones are enough to more than keep us interested.
    • 59 Metascore
    • 10 Critic Score
    If this is what we get - because this is what enough of us apparently want - the end of the music business cannot come soon enough.
    • 70 Metascore
    • 60 Critic Score
    Like on James Blake's album, every swoon is accentuated with the help of a computer and at times just sounds like someone crying and using Auto-Tune at the same time.
    • 67 Metascore
    • 80 Critic Score
    No, it isn't as good as that, but getting anywhere close is proof that Damon Albarn remains a musical alchemist, turning what could easily have been crude and leaden into something that often gleams like gold.
    • 82 Metascore
    • 80 Critic Score
    Nine Types Of Light is an album that manages to blend experimentation with a welcoming accessibility that proves pop music can still be bold this far down the line.
    • 78 Metascore
    • 70 Critic Score
    Recent devotees may be left wondering why there's nothing for them to sing-along to.
    • 76 Metascore
    • 60 Critic Score
    Could 'Blood Pressure' restore The Kills fortunes to their early glory days? It would seem that Hince's luck might be running out.
    • 58 Metascore
    • 20 Critic Score
    Far from a behind-the-scenes veil-lifting, though, 'Doggumentary' largely ensures that the worst preconceptions of self-indulgent hip-hop remain in place.
    • 58 Metascore
    • 70 Critic Score
    Neither a triumph nor a calamity, EUPHORIC HEARTBREAK delivers just enough to make you believe Glasvegas may still have that perfect album in them some day.
    • 51 Metascore
    • 60 Critic Score
    Who You Are doesn't entirely deliver, but even when its songs fall short of the promised hype, their potential is obvious.
    • 74 Metascore
    • 70 Critic Score
    More vintage sound than classic album, All You Need Is Now won't revive any careers, theirs or Ronson's.
    • 67 Metascore
    • 70 Critic Score
    Femme Fatale is also unevenly paced, overlong (16 tracks in its deluxe version) and burdened with filler like the generic 'I Wanna Go', which tries to find a shortcut to the dancefloor but gets lost en route. But the weaker material is outweighed by the fantastic, from the slamming, techno-tinged 'Trouble For Me' to the glorious bubblegum house of 'Up N' Down'.
    • 52 Metascore
    • 40 Critic Score
    The album, taken as a whole, is remarkably disjointed, because eight of the 13 songs on it have been written with the intention of dominating a different corner of music land.