Mixmag's Scores

  • Music
For 450 reviews, this publication has graded:
  • 77% higher than the average critic
  • 3% same as the average critic
  • 20% lower than the average critic
On average, this publication grades 5.7 points higher than other critics. (0-100 point scale)
Average Music review score: 79
Highest review score: 100 Xen
Lowest review score: 50 The Mountain Will Fall
Score distribution:
  1. Negative: 0 out of 450
450 music reviews
    • 82 Metascore
    • 60 Critic Score
    Too many cuts are lost in the middle. [Jun 2018, p.115]
    • Mixmag
    • 79 Metascore
    • 80 Critic Score
    [A] Collection of gorgeous, gossamer-light vignettes. [Jun 2018, p.114]
    • Mixmag
    • 84 Metascore
    • 90 Critic Score
    Fiskal takes bold, divisive ideas and makes us wonder why we’d ever question them in the first place--and that’s the highest compliment we can pay him. [Jun 2018, p.120]
    • Mixmag
    • 83 Metascore
    • 90 Critic Score
    Textures plough and pound throughout the album, revealing yet another new, unclassifiable side of OPN's musical brain as he brings more disparate sounds to the fore. [Jun 2018, p.115]
    • Mixmag
    • 75 Metascore
    • 90 Critic Score
    There are only nine tracks in all, with pieces such as the mesmerising ‘Boids’ and the blissful ‘Glider’ less focused on the floor. It ensures you never feel like the same tricks are being repeated, and the power of those mellifluous voices never wanes. [Jun 2018, p.114]
    • Mixmag
    • 83 Metascore
    • 90 Critic Score
    An extraordinary talent at the top of her game. [Jun 2018, p.113]
    • Mixmag
    • 79 Metascore
    • 80 Critic Score
    Here, psychedelically hypnotic robot incantations weave through ambient soundscapes and piercing synths to brain-frying effect. [Jun 2018, p.113]
    • Mixmag
    • 82 Metascore
    • 90 Critic Score
    It veers between intimate and expansive: the chugging rhythms replicate the hum of America’s love affair with the automobile, while majestic, sweeping strings evoke its grand, widescreen vistas. [Jun 2018, p.112]
    • Mixmag
    • 84 Metascore
    • 90 Critic Score
    Hopkins uses his dancefloor nous, classical background and meditative training to beguile us. It's a beautiful bastard of a record. [May 2018, p.117]
    • Mixmag
    • 79 Metascore
    • 80 Critic Score
    As you might guess, it’s not all fun and games, but there’s bone-dry lyrical wit and absolute clarity of voice (no guest spots!)--and its understanding of bleep and bass tonality gives it instant appeal. [May 2018, p.116]
    • Mixmag
    • 85 Metascore
    • 90 Critic Score
    He's arguably produced his near-masterpiece LP. [May 2018, p.114]
    • Mixmag
    • 73 Metascore
    • 80 Critic Score
    These 12 pieces of crackling, thrumming electro, dub, techno and other less-definable rhythms are held together by a certain warmth, a love of the crisp sounds that make them up, and by adherence to the groove. [Apr 2018, p.92]
    • Mixmag
    • 74 Metascore
    • 90 Critic Score
    The emotional impact is concentrated in each and every tune, and the whole album manages to achieve a genuinely epic scope in under 40 minutes. [Apr 2018, p.92]
    • Mixmag
    • 73 Metascore
    • 70 Critic Score
    A pretty heady blend of neo-soul, funk, jazz, boom bap and house, but overall things veer a little too close to the vanilla here. [Apr 2018, p.91]
    • Mixmag
    • 72 Metascore
    • 70 Critic Score
    Occasionally it's awkward, but for the most part it shows there's still plenty of life in the old Head yet. [Apr 2018, p.91]
    • Mixmag
    • 84 Metascore
    • 80 Critic Score
    This is a strong, sometimes truly beautiful, maturation of Avery’s work as a producer.
    • 75 Metascore
    • 70 Critic Score
    Who Are You? shuttles between Honolulu and Jamaica as he splices lap steel guitar and rim shots, before spinning off into Chris Brann-style deep house on ‘Endless Sundays’. Things get even more somnambulant on the dubby ‘Gravity Waves’, which threatens to keel over at any minute.
    • 75 Metascore
    • 80 Critic Score
    The dark, incendiary electronica of Mr Dynamite harking back to the anything-goes post-punk aesthetic of the late 70s. The work of Benge, Tuung’s Phil Winter, Cabaret Voltaire frontman Stephen Mallinder and everyone’s favourite mellifluous alt-crooner, John Grant, they ensure the record never stands still.
    • 72 Metascore
    • 90 Critic Score
    The music is more emotive, the confidence sharper, the production bolder. ... All That Must Be is going to be lodged into key craniums for the rest of 2018.
    • 67 Metascore
    • 80 Critic Score
    Sir
    The whole album drips with a palpable sense of lust and intensity.
    • 75 Metascore
    • 60 Critic Score
    Too often--as on ‘The Last Of Goodbyes’, with its limp rap and doleful Burialisms--it sounds like Moby pastiching his old self. On the flip side, ‘Welcome To Hard Times’, a sunny Balearic soul shuffle, is lovely, and the ghostly piano haunting ‘The Tired And The Hurt’ contains the muscle memory of his masterpiece ‘Porcelain’, but they’re isolated sparkles.
    • 73 Metascore
    • 70 Critic Score
    Millennial inertia is a target--see ‘It’s All Good’ and ‘Nobody Cares’--but their bite is balanced with blear and bounce in equal measure.
    • 84 Metascore
    • 80 Critic Score
    Steffi appears totally in control on an album that’s an important milestone in her career: mature, emotive and imbued with a hint of futurism, it’s a delight.
    • 82 Metascore
    • 90 Critic Score
    It’s an album you’ll want to return to again and again.
    • 78 Metascore
    • 80 Critic Score
    Prins Thomas 5, however, feels like a soft launch for Prins Thomas 2.0. You can hear it from the off on the glam-tastic ‘Here Comes The Band’, said to be influenced by the veteran Glasgow melodic indie band, Teenage Fanclub.
    • 70 Metascore
    • 70 Critic Score
    Brighton six-piece The Go Team! imbue Semicircle with the high-octane vibes of a marching band taking on block party jams, Northern Soul and cutesy indie pop. It might sound crazy, but it works beautifully.
    • 68 Metascore
    • 70 Critic Score
    Zombie Zombie are clearly aiming for the lysergic head as well as the ecstatic feet and the end result is an organic concoction that doesn’t disappoint.
    • 74 Metascore
    • 80 Critic Score
    I
    It’s compulsive and hypnotic.
    • 87 Metascore
    • 80 Critic Score
    Peder Mannerfelt, Paula Temple and NÍDIA are among the producers who worked on ‘Plunge’, bringing 150bpm batida rhythms and searing rave stabs to one of 2017’s most thrilling LPs.
    • 77 Metascore
    • 80 Critic Score
    The LP examines the traps of routine and the possibilities that dreaming and music offer to escape from them--and however distanced Iqbal might seem in her performance, as a listener you’ll quickly find both real connections to the album’s themes, and the variety of gorgeous sounds that she uses to express them.