L.A. Weekly's Scores

For 70 reviews, this publication has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 1.2 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 90 Argyle Heir
Lowest review score: 10 Bridge
Score distribution:
  1. Positive: 54 out of 70
  2. Negative: 6 out of 70
70 music reviews
    • 83 Metascore
    • 90 Critic Score
    An early contender for album of the year.
    • 60 Metascore
    • 70 Critic Score
    It’s on the more open instrumental jam sessions -- "Dead Can Dance"'s pseudo-bossa tempos and especially the bluesy twang of "Highway to Heaven" -- that they distinguish themselves as live players eagerly retrofitting rock/dance hybrids.
    • 79 Metascore
    • 80 Critic Score
    Sure, the songs are short, fast and catchy, but Clinic isn't filling prescriptions for ear candy; the music cuts into you with a desolate, sarcastic, scalpel-sharp edge.
    • 61 Metascore
    • 80 Critic Score
    Under Rug Swept is Alanis Morissette in top form, exercising her God-given right to vent and sound beautiful doing so.
    • 74 Metascore
    • 50 Critic Score
    Chambers' voice is a birdie chirp. She's sexy, but has less edge than the tiniest bleached-blond in the Dixie Chicks and half the sass of Dolly Parton.
    • 72 Metascore
    • 70 Critic Score
    Come With Us is too much of a mixed bag to induce a full-length journey; it’s best experienced in short walkabouts.
    • 82 Metascore
    • 80 Critic Score
    Point is even weirder than previous Cornelius records, even if its emphasis on acoustic guitars makes it seem uncharacteristically mellow at first listen.
    • 69 Metascore
    • 70 Critic Score
    Iron Flag owes its lack of cohesion to some simply dull songs, plus the growing disparity in lyrical ability among the Wu’s members.
    • 71 Metascore
    • 80 Critic Score
    Remedies some problems and amplifies others.
    • 81 Metascore
    • 80 Critic Score
    The fly in the ointment is the lyric content, which plumbs depths of misanthropy that make labelmate Bill Callahan (Smog) sound like Bobby McFerrin.
    • 85 Metascore
    • 90 Critic Score
    Not as consistent as The Coup’s outstanding Steal This Album from 1998, Party Music still manages to be one of 2001’s best.
    • 77 Metascore
    • 80 Critic Score
    Devoid of the cartoonish cabaret crooning of 1997’s breakthrough Cassanova, Regeneration is more down-to-earth, with less grandstanding and more adventurousness.
    • 73 Metascore
    • 80 Critic Score
    If Alive to Every Smile doesn’t indicate Wratten is ready to move on thematically, it does show him evolving musically.
    • 63 Metascore
    • 30 Critic Score
    Sadly, nothing about the unspectacular Golden State will save them from the Where Are They Now? file.
    • 87 Metascore
    • 80 Critic Score
    The Argument provides a rough blueprint for Fugazi’s current music: more melodic, fascinated as much with miniatures as grand anthems, more tensed, better prepared for the inevitable explosions.
    • 82 Metascore
    • 80 Critic Score
    Played quiet, Epitaph is like rain on the roof; when you’re rattling the casements with the monster bass, it’s like an air mattress.
    • 83 Metascore
    • 70 Critic Score
    His songs are beautiful if simple ballads to whatever crosses his fancy.
    • 69 Metascore
    • 90 Critic Score
    The sound of a band blissfully uncoiling under the sun of self-assurance.
    • 71 Metascore
    • 60 Critic Score
    Now, it’s the chilled tracks that seem limited and generic... The fortunate tradeoff is that the album’s three strobe-lit tracks definitely bring it on.
    • 88 Metascore
    • 80 Critic Score
    Blueprint is his best since debuting with Reasonable Doubt in 1996.
    • 82 Metascore
    • 80 Critic Score
    There’s more going on here than mere escapist fare.
    • 73 Metascore
    • 90 Critic Score
    Cast in layers upon layers of aural intricacy, Toxicity charters new frontiers, yet it’s still grinding rock at its most deafening.
    • 70 Metascore
    • 90 Critic Score
    His best effort yet.
    • 71 Metascore
    • 90 Critic Score
    Hands down, this is one of the best-produced albums of the year...
    • 68 Metascore
    • 70 Critic Score
    The resulting mélange doesn’t always work, but the songs on 10,000HZ Legend still succeed often enough to override the record’s occasional shortcomings.
    • 74 Metascore
    • 90 Critic Score
    Argyle Heir is the Brooklyn-based combo’s most perfect recording, loaded with gently baroque, quietly cinematic tunes that leisurely melt away in your head.
    • 76 Metascore
    • 90 Critic Score
    In a just universe, Nikka Costa, with her near-perfect American debut, Everybody Got Their Something, would become the ‘00s answer to Janis Joplin, Teena Marie and Like a Virginal Madonna.
    • 75 Metascore
    • 80 Critic Score
    Eitzel’s written with genuine warmth before, but it’s been several albums since he’s backed it with sounds that stand on their own this well.
    • 59 Metascore
    • 40 Critic Score
    Redman comes up frustratingly short on thrills with an indulgent, complacent effort that takes you on a loooooong road to nowhere.
    • 65 Metascore
    • 90 Critic Score
    Mellow, dramatic and bathed in atmosphere, Exciter is the sound of a band at the height of its powers.