Dot Music's Scores

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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 3.7 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:
  1. Positive: 1,005 out of 1511
  2. Mixed: 449 out of 1511
  3. Negative: 57 out of 1511
1511 music reviews
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    • 71 Metascore
    • 40 Critic Score
    Angles
    These songs don't sound anxious, or troubled, just lacklustre.
    • 72 Metascore
    • 70 Critic Score
    Passive Me Aggressive You
    Despite the overarching feel of having a bit of the early MGMT's about them (which, to be fair, is hardly a bad thing), there's enough variety within the New Zealanders' debut to prove they're more than just a one-trick, party-starting pony.
    • 57 Metascore
    • 70 Critic Score
    Lasers
    While Lasers isn't the equal of its superb predecessors, there's still much here to admire; even though the fact that there isn't quite as much to love is no real surprise.
    • 82 Metascore
    • 80 Critic Score
    Build a Rocket Boys!
    This is not the work of a band prepared to make a song and dance to keep everyone interested, but one happy to build something good from not a lot and hope you like it.
    • 67 Metascore
    • 70 Critic Score
    Last Night on Earth
    Far from Noah & The Whale lagging behind their popular folk peers, with Last Night On Earth the band are finally punching above their weight to create a sound that's altogether new and wholly theirs.
    • 71 Metascore
    • 60 Critic Score
    Collapse into Now
    Collapse Into Now isn't a bad album but crucially it isn't a classic.
    • 58 Metascore
    • 60 Critic Score
    Goodbye Lullaby
    An effective, but ultimately generic, pop album.
    • 83 Metascore
    • 70 Critic Score
    Wounded Rhymes
    Broken hearts litter pop music of course, but the way this 24-year-old almost welcomes desolation into her life is nothing if not fascinating.
    • 81 Metascore
    • 80 Critic Score
    Yuck
    Reflecting their influences without becoming burdened under them, their self-titled debut is an impressively varied beast.
    • 65 Metascore
    • 70 Critic Score
    Different Gear, Still Speeding
    Amongst the glam rockers and the tender janglers, it seems that Beady Eye have simply written a Supergrass album. Let's see if Noel has an answer for that.
    • 76 Metascore
    • 80 Critic Score
    Smart Flesh
    The album's predominant mood is not glumness, it is togetherness, and it invokes images of storytelling, late nights, campfires, whiskey and beards. The stuff of men with things on their minds.
    • 80 Metascore
    • 70 Critic Score
    The King of Limbs
    The truth is, however much or little you enjoy them, Radiohead are one of the few mainstream bands who try not to retrace their steps.
    • 77 Metascore
    • 80 Critic Score
    Hardcore Will Never Die, But You Will
    This is an album that's far from complacent and what's most in evidence throughout is they're seeking to challenge themselves as much as their audience.
    • 70 Metascore
    • 70 Critic Score
    Computers & Blues
    Computers & Blues doesn't match up to The Streets' visionary early promise, and there are a few songs which sound sketchy and half-hearted. But when it works, it's a reminder of what a tender, articulate and original voice Skinner has been in British pop, and how sorely he will be missed.
    • 86 Metascore
    • 60 Critic Score
    Let England Shake
    Perhaps it's no surprise that eighth album Let England Shake is the first for which Harvey does not appear on the sleeve.
    • 67 Metascore
    • 80 Critic Score
    No More Idols
    It would be interesting to see Chase & Status explore this extra dimension further, but--for now--this is a thrilling case of cum on feel the noize.
    • 81 Metascore
    • 90 Critic Score
    James Blake
    Written, arranged, performed and recorded by Blake in his bedroom, the album isn't just a good collection of touching songs, it's a complete world of his own; a mood, a moment, a sound that's uniquely his. Just as a future classic should be.
    • 73 Metascore
    • 80 Critic Score
    Rolling Blackouts
    It's mixed-up, mashed-up and flagrantly, unapologetically odd. It's everything we want The Go! Team to be. But with added extras.
    • 75 Metascore
    • 70 Critic Score
    Last Train to Paris
    Crucially though, what Diddy lacks in eloquence he makes up for in pop sensibility, which here keeps edgier elements the right side of radio friendly.
    • 76 Metascore
    • 90 Critic Score
    21
    If Adele's debut '19' marked her out as a young chanteuse with a booming voice, her follow-up '21' has shown a maturity in her songwriting that makes her the de facto authority when it comes to soundtracks to broken hearts.
    • 61 Metascore
    • 60 Critic Score
    Doo-Wops and Hooligans
    Aside from the odd pervy foray however, Doo-Wops & Hooligans is a fairly impressive pop record; packed full of guaranteed arena fillers, it's an album that's literally born to be big.
    • 60 Metascore
    • 60 Critic Score
    Ritual
    There are moments where the mini-pops Joy Division approach hits paydirt, notably on the relentless, single-minded surge of the single, 'Bigger Than Us'. But mostly the trio are at their best when they wriggle free from the colossal shadows they're hiding under.
    • 54 Metascore
    • 50 Critic Score
    No Boys Allowed
    The mixed messages are infuriating, and the complete lack of soul or identity perplexing.
    • 71 Metascore
    • 60 Critic Score
    Tron: Legacy
    Daft Punk have done their homework, and there's enough here to suggest that, with a bit of debugging, they'll have no problem hitting all the right buttons next time.
    • 47 Metascore
    • 30 Critic Score
    The Beginning
    Unforgivably bad.
    • 59 Metascore
    • 60 Critic Score
    Endlessly
    The rest is a lacklustre recast of her debut that displays about as much personality as Duffy's sweetly banal interviews, all of which suggests her production team are a weakened bunch. Like we said, a remarkable return.
    • 80 Metascore
    • 70 Critic Score
    The Lady Killer
    Despite some great tunes, his high-pitched, duck-on-helium vocals start wearing thin, becoming the detraction, rather than the attraction, of this album. Had it been 15 minutes shorter, The Lady Killer could have been this year's top pop album.
    • 80 Metascore
    • 80 Critic Score
    Progress
    Epic, exciting, strange and unexpected, it's exactly what pop needed, but surely not quite what Gary Barlow had in mind.
    • 58 Metascore
    • 80 Critic Score
    Winner Stays On
    Winner Stays On proves that crossing over needn't be a terrible business.
    • 68 Metascore
    • 60 Critic Score
    Pink Friday
    Living up to expectations is tough, especially ones as high as those that have been hovering over Minaj throughout 2010. But it's hard to see who actually wanted to hear a record like this, stripped of curiosities and bombast, that leaves the biggest talent in hip hop with more to prove than ever.
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