Mojo's Scores

  • Music
For 7,553 reviews, this publication has graded:
  • 53% higher than the average critic
  • 4% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 1.5 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 No More Shall We Part
Lowest review score: 10 Milk Cow Blues
Score distribution:
7553 music reviews
    • 81 Metascore
    • 80 Critic Score
    Predictably, there's a big hello-hurray for bold re-imaginings of The Jam's Private Hell and Boy About Town, but it's the big-orch performance of his solo jazz-psych-folk highlights that transport and intrigue. [Apr 2019, p.86]
    • Mojo
    • 76 Metascore
    • 80 Critic Score
    As expected, it's perfectly executed. [Apr 2019, p.89]
    • Mojo
    • 70 Metascore
    • 60 Critic Score
    There's no leap forwards here but Still On My mind is the sound of a woman playing to her strengths and the good ship Dido remains reassuringly unsinkable. [Apr 2019, p.92]
    • Mojo
    • 75 Metascore
    • 60 Critic Score
    Basic themes remain unchanged. [Apr 2019, p.89]
    • Mojo
    • 74 Metascore
    • 60 Critic Score
    An endearingly dog-eared weirdness to their idiosyncratic country rock, a charm to their off-kilter harmonies and a mystery within Curt's songwriting that ensures Dusty Notes is craftmanlike, rather than workmanlike. [Apr 2019, p.91]
    • Mojo
    • 78 Metascore
    • 60 Critic Score
    If Palmer sometimes gets it wrong, when she gets its it right, nearly all is forgiven. [Apr 2019, p.89]
    • Mojo
    • 82 Metascore
    • 80 Critic Score
    Though McLennan's poetry, hurt and melodic gift is lost, his partner's crafted vignettes are the closest we have to the timeless albums they make together. Inferno stands among them, a few stops down the line, and for Forster, like the rest of us, life turns another page. [Apr 2019, p.84]
    • Mojo
    • 78 Metascore
    • 60 Critic Score
    Part 1 veers from the abrasive, Stooges-style rock that characterised much of 2015's What Went Down. [Apr 2019, p.86]
    • Mojo
    • 72 Metascore
    • 60 Critic Score
    Far from punching predictable button, these reconstructed mischief-makers excel when locking electro horns with primal motorik grooves. [Apr 2019, p.94]
    • Mojo
    • 77 Metascore
    • 80 Critic Score
    A thought-provoking, welcome addition to the cosmic jazz uprising. [Apr 2019, p.94]
    • Mojo
    • 73 Metascore
    • 60 Critic Score
    This is a slick, polished, self-penned set. ... Sometimes it's hard to tell the frenzied guitar stranglers apart. [Mar 2019, p.96]
    • Mojo
    • 82 Metascore
    • 80 Critic Score
    Songs fall into two categories: those tracking matters of the heart--Don't You Know could be a forgotten Delfonics single with drummer Aaron Frazer's sweet falsetto taking the lead--and those scolding their home country. These are jolting, especially opener Morning In America, with its Curtis Mayfield and Gil Scott-Heron touches. [Mar 2019, p.96]
    • Mojo
    • 83 Metascore
    • 80 Critic Score
    Songs feel untethered, then crystallise in Sharon Von Etten-levels of devastation. [Apr 2019, p.96]
    • Mojo
    • 74 Metascore
    • 60 Critic Score
    At risk of self-indulgence, but arrangements reward patient listening. [Apr 2019, p.96]
    • Mojo
    • 80 Metascore
    • 80 Critic Score
    The Unthank sisters admirably translate the atmospheric melancholia of the themes, though it's Adrian McNally's piano arrangements that really carry the day. [Apr 2019, p.95]
    • Mojo
    • 85 Metascore
    • 80 Critic Score
    Victoria's wracked, whispery, smoky rasp exudes her inner suffering. [Apr 2019, p.91]
    • Mojo
    • 78 Metascore
    • 80 Critic Score
    A precision, Sleater-Kinney-ish rewiring of new wave guitar with cool, no wave delivery. [Apr 2019, p.96]
    • Mojo
    • 73 Metascore
    • 80 Critic Score
    This successor is strings-free, but goes further still [than 2014's This Is My Hand]. [Apr 2019, p.94]
    • Mojo
    • 77 Metascore
    • 80 Critic Score
    White Stuff once again feels like the work of avant-garde self-mythologisers inveigling themselves into the Stones' Nellcote basement. But the riffs, cutting a swathe through dense electronic meltdown, are the strongest they've engineered, together or apart, since 1997's Accelerator. and there's a neww, mature pathos to the likes of Suburban Junkie Lady. [Apr 2019, p.96]
    • Mojo
    • 80 Metascore
    • 80 Critic Score
    Wraith finds those heterogeneous elements [post-punk, industrial Krautrock and Angelo Badalamenti-like soundtrack atmosphere] fusing even more satisfyingly than [2015's Highly Deadly Black Tarantula]. [Mar 2019, p.97]
    • Mojo
    • 81 Metascore
    • 80 Critic Score
    On This Land, Clark and his guitar stay true to the mission. [Apr 2019, p.92]
    • Mojo
    • 81 Metascore
    • 80 Critic Score
    Defiance, anger and desire fire his second set, a soul-dancefloor hybrid that soars past debut Brave Confusions' meld of influences. [Apr 2019, p.93]
    • Mojo
    • 76 Metascore
    • 60 Critic Score
    Warmer layers are added to sparse, insistent electronics, culminating in Unificado, a nine-minute high-point of fuzz pedal density. [Apr 2019, p.96]
    • Mojo
    • 77 Metascore
    • 80 Critic Score
    The sound is '80s indie, air and water. [Apr 2019, p.96]
    • Mojo
    • 60 Metascore
    • 60 Critic Score
    Songs blur into each other, rendering Beat My Distance a series of variations on adopted themes rather than evidence of a singular voice. [Apr 2019, p.93]
    • Mojo
    • 78 Metascore
    • 60 Critic Score
    From the jaunty beat group undertow counterpointing his melodramatic vocal style on the opening title track, through the almost self-consciously traditional slide guitar and harmonica combination of Devil Got Me, to his most adventurous use of the mouth harp as a bringer of Dionysian frenzy, to the pastoral backwater of the penultimate Sundown--is actually more in keeping with his experimental rock beginnings. [Apr 2019, p.94]
    • Mojo
    • 76 Metascore
    • 60 Critic Score
    It resets her musical dial by abandoning the borderline Nick Cave-isms of Welcome... to amp up the rock dynamism which first won her attention.[Mar 2019, p.92]
    • Mojo
    • 81 Metascore
    • 80 Critic Score
    Not for the uncommitted, this is a time capsule to a place where those over-burdened by taste will not want to go. but junk shop superhead/compiler/indie rock Zelig Phil King has reminded us that if we do some things differently in the past, they do other things--thrills, strangeness, escape--the same. [Apr 2019, p.103]
    • Mojo
    • 79 Metascore
    • 80 Critic Score
    Fine follow-up [to 2016's Lovers & Leavers] ... has a wider range of emotions and some new classics. [Apr 2019, p.91]
    • Mojo
    • 77 Metascore
    • 80 Critic Score
    Delicate, inventive and deeply, deeply touching. [Mar 2019, p.95]
    • Mojo