Magnet's Scores
- Music
For 2,325 reviews, this publication has graded:
-
60% higher than the average critic
-
3% same as the average critic
-
37% lower than the average critic
On average, this publication grades 0.1 points lower than other critics.
(0-100 point scale)
Average Music review score: 73
| Highest review score: | Comicopera | |
|---|---|---|
| Lowest review score: | Sound-Dust |
Score distribution:
-
Positive: 1,874 out of 2325
-
Mixed: 380 out of 2325
-
Negative: 71 out of 2325
2325
music
reviews
- By Date
- By Critic Score
-
- Critic Score
Her soprano voice has held up pretty well, and her love for the natural and spirit world has only grown. But the production on I'm A Harmony by Wilco's Pat Sansone and composter Julia Holter combines '70s soft rock and '80s adult contemporary into a mix so vaporous it'll evaporate if you open the window. [No. 148, p.59]- Magnet
Posted Nov 21, 2017 -
- Critic Score
Luciferian Towers is a muddled mess of underworked ideas strung together. [No. 148, p.57]- Magnet
Posted Nov 21, 2017 -
- Critic Score
The results are about as bold and memorable as a spent glowstick. [No. 148, p.55]- Magnet
Posted Nov 21, 2017 -
- Critic Score
The Foo sextet has made its hardest, yet most curvaceous and warm-blooded record to date. [No. 148, p.54]- Magnet
Posted Nov 21, 2017 -
- Critic Score
This is they type of sublime, maximalist treasure that should kick positive inspiration downstairs into the emperor-in-his-birthday-suit, for-the-sake-of-it, substance-free charlatan safe room that the experimental/abstract realm of contemporary underground music can sometime seem like. [No. 148, p.55]- Magnet
Posted Nov 21, 2017 -
- Critic Score
Continue to blame "hipsters" for cultural ruination but can't find any to shame because they stopped wearing white belts a long time ago. [No. 148, p.53]- Magnet
Posted Nov 21, 2017 -
- Critic Score
Save for the grooving, frizzy "Dreams," the ambient alterna-pop/R&B of Colors is sleek, clean and clear. [No. 148, p.53]- Magnet
Posted Nov 21, 2017 -
- Critic Score
While not on par with the best from those two bands [The Clash and Stiff Little Fingers], American Fail is still potent. [No. 148, p.53]- Magnet
Posted Nov 21, 2017 -
- Critic Score
It's still heavy as fuck, but it's also textural, emotional, diverse and defiant as fuck, too. [No. 148, p.52]- Magnet
Posted Nov 21, 2017 -
- Critic Score
The lyrics are often stupid as hell. ... What's novel about Pacific Daydream is that its giant, overcompressed choruses really do burrow their way into your skull. [No. 148, p.51]- Magnet
Posted Nov 21, 2017 -
- Critic Score
There have been many very good Jon Langford albums; this outlier is one of the best. [No, 147, p.54]- Magnet
Posted Nov 17, 2017 -
- Critic Score
The songs are tightly constructed, the recordings clean and largely devoid of production effects, allowing the melodies, all quite lovely to take center stage. [No. 147, p.61]- Magnet
Posted Oct 19, 2017 -
- Critic Score
At the remove of three decades, this album remains as fresh and unconventional as the day the songs were first committed to tape. [No. 147, p.60]- Magnet
Posted Oct 19, 2017 -
- Critic Score
Another fine showcase for her savvy and adventurous approach to both song selection and interpretation. [No. 147, p.59]- Magnet
Posted Oct 17, 2017 -
- Critic Score
Fans and obsessive will love this, but it may not qualify as a return journey for the rest of us. [No. 147, p.55]- Magnet
Posted Oct 17, 2017 -
- Critic Score
An emphasis on instrumentals is intriguing, but they're the pleasantries you'd fear. All are pretty in a disconnected, band-that-hasn't-released-new-music-in-13-years way. [No. 147, p.58]- Magnet
Posted Oct 17, 2017 -
- Critic Score
Multi-instrumental wizards Kattner and Thorburn trade off on guitar and keyboards, with Plummer supplying the rhythmic anchor, to produce a spectral sound that complements their instrumental digressions and vocal anomalies. [No. 147, p.57]- Magnet
Posted Oct 17, 2017 -
- Critic Score
American Dream is, in purely sonic terms, their richest, most viscerally pleasurable record yet, rife with layered, polyrhythmic percussion and an encyclopedic array of synth textures. [No. 147, p.56]- Magnet
Posted Oct 17, 2017 -
- Critic Score
The accomplishment is immaculate, but what's harder to sort out is where the real Kelley Stoltz stands. [No. 147, p.61]- Magnet
Posted Oct 17, 2017 -
- Critic Score
The 10 tunes evoke nothing but a good, unusually brisk-feeling and '70s-like Luna record. [No. 147, p.58]- Magnet
Posted Oct 17, 2017 -
- Critic Score
Impossibly, Rosenberg's artistry still feels mysterious, unknowable, capable of surprise. [No. 147, p.57]- Magnet
Posted Oct 17, 2017 -
- Critic Score
The single-minded pursuit of a sound that was fresh about the time that Melkbelly's members started kindergarten makes for an album that's competently executed but easy to forget. [No. 147, p.55]- Magnet
Posted Oct 17, 2017 -
- Critic Score
1992-2001 functions as a perfect introduction to the band's catalog, bundling tracks from its five albums with nine unreleased songs. [No. 147, p.53]- Magnet
Posted Oct 17, 2017 -
- Critic Score
There remain very few great "lost" albums. Make no mistake. This is one. [No. 147, p.59]- Magnet
Posted Oct 17, 2017 -
- Critic Score
It's not an easy listen--"Greener Stretch" is one of the rare songs that has an immediate hook--but it commands, and rewards, attention. [No. 147, p.61]- Magnet
Posted Oct 17, 2017 -
- Critic Score
The band digs deep to produce 11 sharp tracks, marked by its inventive stylistic hybrid. [No. 147, p.61]- Magnet
Posted Oct 17, 2017 -
- Critic Score
These songs--even the quiet ones--are bold, messy, unflinching, humming with life. [No. 147, p.61]- Magnet
Posted Oct 17, 2017 -
- Critic Score
There Is No Love In Fluorescent Light is not quite as perfect top-to-bottom as 2003's Heart, nor as high energy as 2014's No One Is Lost, but it's still very good. [No. 147, p.59]- Magnet
Posted Oct 17, 2017 -
- Critic Score
20 Years sounds like it was a blast to make. The playful side of the band, which often gets scant notice, is on full display. [No. 147, p.55]- Magnet
Posted Oct 17, 2017 -
- Critic Score
He [Emil Svanangen] has a high, expressive tenor that often slips into a keening falsetto that fights to be heard over the sound of the dark, frequently overwhelming synthesizer symphonies that fill the background. [No. 147, p.55]- Magnet
Posted Oct 17, 2017