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For 5,883 reviews, this publication has graded:
  • 60% higher than the average critic
  • 4% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 0.6 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Everything's The Rush
Lowest review score: 0 Fortune
Score distribution:
  1. Positive: 4,425 out of 5883
  2. Mixed: 1,418 out of 5883
  3. Negative: 40 out of 5883
5883 music reviews
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    • 80 Metascore
    • 60 Critic Score
    Goat Girl
    Splitting I Don’t Care Pt 1 and I Don’t Care Pt 2 into two separate tracks makes sense; one is jerky and aloof, the other stumbling and awkward, and they make nice companion pieces. But putting the two tracks either side of the aimless piano noodling of Hank’s Theme is a mis-step. That said, there are some excellent songs here, like the bristling, melodic Viper Fish, the frenetic Cracker Drool and the brash Country Sleaze.
    • 61 Metascore
    • 50 Critic Score
    Staying at Tamara's
    Although it will sound perfect in the arenas of the land this summer, for those of us who were blown away by early tracks like Budapest and Cassy O, there’s a lot on this follow-up that plays a bit too safe.
    • 60 Metascore
    • 50 Critic Score
    World Beyond
    World Beyond ends up worth a listen if you happen to be someone who likes ’80s synthpop and classical music in equal measure. Whether there’s much here for anyone else is moot.
    • 69 Metascore
    • 50 Critic Score
    I'll Be Your Girl
    The album is at its best when it explores glam influences: the campness and flamboyance nicely mirror the theatrical nature of The Decemberists’ established repertoire. But they would do well to learn that sticking some synthesiser parts behind a guitar band doesn’t automatically make them New Order.
    • 72 Metascore
    • 50 Critic Score
    All That Must Be
    The real highlights are the two tracks with lyrics, Roll Back with Lil Silva and the suitably nocturnal Half-Light (Night Version) with Tracey Thorn of Everything But The Girl. These songs play to Fitzgerald’s strengths. By contrast, the rest of the album feels like watching a stage with no performers on it. A well-lit stage, as Fitzgerald can create a mood well, but still fundamentally a hollow experience.
    • 68 Metascore
    • 60 Critic Score
    A Productive Cough
    

A Productive Cough is not a bad album, but it’s not Titus Andronicus’ greatest moment. Part of the problem comes from the high expectations set by the band’s previous work, and to some degree the drawn out jam sections that occasionally go on just a little too long.
    • 72 Metascore
    • 60 Critic Score
    This Is Eggland
    This Is Eggland takes no prisoners in its sonic bombast, and does not suffer fools gladly. Taking elements from krautrock in the oscillations of Silver Apples together with the slash and fury of riot grrlers Bikini Kill, the resulting dish is mashed up in a throwaway aesthetic.
    • 71 Metascore
    • 60 Critic Score
    Beautiful People Will Ruin Your Life
    Even with the missteps, there is plenty to love about The Wombats’ fourth effort.
    • 74 Metascore
    • 60 Critic Score
    Go Dig My Grave
    Go Dig My Grave might not hit the heights of some of her earlier albums, and is certainly a more uneven collection, but it shows Susanna to still be fascinated by the power of sad songs and in possession of a distinctive, singular ability of re-presenting them.
    • 55 Metascore
    • 60 Critic Score
    Man of the Woods
    Ultimately the album is three or four songs too long, but Man Of The Woods is rarely less than entertaining. Too slick to be a genuine man of ‘rough’, Timberlake nevertheless continues to lead the way in his field, even if he does so without consistently reaching the greatness he so clearly strives for.
    • 72 Metascore
    • 60 Critic Score
    Pissing Stars
    Pissing Stars is by no means an easy listen but, if time is invested, amongst the heaviness and foreboding, rewards can be found. The world may be a bleak, troubling place at times, but Menuck continues to find salvation through his music.
    • 59 Metascore
    • 40 Critic Score
    The Worm's Heart
    Oh, inverted world, you’re not as much as fun or as interesting as we hoped.
    • 83 Metascore
    • 60 Critic Score
    All Melody
    The opening half sees him attempt something a little different with mixed results, the second half seems him return to more familiar ground with only moderate success.
    • 65 Metascore
    • 60 Critic Score
    Passover
    It’s easy to appreciate and admire, but difficult to enjoy.
    • 80 Metascore
    • 60 Critic Score
    Rest
    There are some songs, such as Deadly Valentine, that just seem to fall a bit flat, and considering that’s there’s only 10 tracks, it seems to be an oddly lengthy record. Yet, like most of Gainsbourg’s work, it oozes class and, at times, it becomes startlingly beautiful.
    • 59 Metascore
    • 60 Critic Score
    Low in High School
    His 11th solo studio album Low in High School is a mixed bag of brilliance and dross. There are some genuinely interesting new explorations while other tracks are deeply disappointing. Disconcertingly uneven, yes, but not safely predictable.
    • 72 Metascore
    • 40 Critic Score
    Colors
    The problem with Colors is that where once he innovated, Beck now seems to be imitating the slew of fizzing faceless pop clogging the airwaves buried under a mesh of corporate production.
    • 64 Metascore
    • 60 Critic Score
    Pacific Daydream
    Pacific Daydreams certainly doesn’t achieve the grandiose aims from the aforementioned inspiring proverb. That said, thankfully it is still a solid record which should satisfy fans.
    • 77 Metascore
    • 60 Critic Score
    Half-Light
    Half-Light is a good introduction to the solo sound of Rostam Batmanglij. It’s likely to remain more of a cult interest than establish Rostam as a star in his own right, but even when it becomes a bit unfocused it’s clear that Batmanglij remains a major talent.
    • 74 Metascore
    • 60 Critic Score
    Savage (Songs from a Broken World)
    There’s much to admire about Savage, but it’s definitely one that you have to be in a particular mood to enjoy.
    • 61 Metascore
    • 50 Critic Score
    Desire
    It’s a credit to Hurts for stepping outside their comfort zone and aiming high, but the end product feels as though it was rather a struggle. Possibly to gain more exposure, they’ve made what they hope is a radio friendly record, but which all but obliterates that which won them fans in the first place.
    • 75 Metascore
    • 60 Critic Score
    All This Life
    All This Life won’t win any album of the year awards, nor will it garner much critical praise, but how good it actually is comes as a surprise. It’s all too easy to knock the likes of Starsailor, but with the new album largely reflecting the sound of a rejuvenated band, let’s not write them off just yet.
    • 74 Metascore
    • 60 Critic Score
    Scum
    SCUM is rarely subtle and its relentless pace can become a little bit much at times. Yet there’s enough promise here to suggest that with more development and quality control, Ratboy could grow into an artist of significant stature.
    • 77 Metascore
    • 50 Critic Score
    Every Valley
    An album that is wide-eyed in its sincerity, unafraid of sentimentality, for better or worse. The political message is familiar, and will never grow old. The means of expression, however, can become a little too routine.
    • 74 Metascore
    • 60 Critic Score
    Eirenic Life
    Hughes isn’t about to change that with Eirenic Life, but this work offers a warming, soothing relaxation state that is a welcome antidote to the troubles of everyday life currently engulfing us, and may appeal to fans of Brian Eno in particular.
    • 66 Metascore
    • 50 Critic Score
    As Light Return
    With only five tracks and little in the way of audible lyrics or melody, understandably As Light Return tends to blend into one rather murky whole. That said, after repeated listens, individual song strengths do gradually emerge.
    • 47 Metascore
    • 50 Critic Score
    Evolve
    There’s not enough quality across the whole of Evolve to convincingly make the case that Imagine Dragons actually have, or to attract an audience of new listeners. Evolve is a good idea, but in practise it turns out that it doesn’t really work.
    • 74 Metascore
    • 60 Critic Score
    Fake Sugar
    It’s that smoothing of Ditto’s edges that prevents Fake Sugar from moving from a good, perfectly serviceable pop album to something truly great.
    • 81 Metascore
    • 60 Critic Score
    Crack-Up
    Crack-Up is, in its way, just as exhausting a listening experience as Pure Comedy.
    • 65 Metascore
    • 50 Critic Score
    Relaxer
    It adds up to a disjointed, uneasy compilation of songs, with the band seemingly refusing to conform to expectation.
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