Neumu.net's Scores

  • Music
For 474 reviews, this publication has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 0.5 points lower than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 Twin Cinema
Lowest review score: 20 Liz Phair
Score distribution:
  1. Negative: 12 out of 474
474 music reviews
    • 86 Metascore
    • 90 Critic Score
    One of funniest, smartest, truest, saddest and flat-out rockingest (in the very best way) albums I've heard in a very long time.
    • 82 Metascore
    • 90 Critic Score
    A very fine solo album indeed.
    • 57 Metascore
    • 70 Critic Score
    Yes, the overall sound is more uniform. Uniformity, however, is not necessarily a bad thing.
    • 76 Metascore
    • 90 Critic Score
    A monumental rock-'n'-roll album.
    • 85 Metascore
    • 95 Critic Score
    The difference this time is that the Hold Steady consistently kick ass, nailing both Paul Westerberg's Teenage Yearning/Angst and Bruce's Common Man to a cross of Pure American Rock, unafraid of cliché, undaunted by the task of making the familiar exciting again.
    • 84 Metascore
    • 90 Critic Score
    The Crane Wife is an impressively realized song cycle.
    • 78 Metascore
    • 90 Critic Score
    For Human Animal, Wolf Eyes have stepped back from pure violence, bringing in some of the old cinematic features while retaining pieces of the vicious nature that has served them well.
    • 88 Metascore
    • 90 Critic Score
    Whichever way you look at it, as avant-pop or cubist soul, Return to Cookie Mountain remains an intoxicating, intriguing but accessible album.
    • 79 Metascore
    • 90 Critic Score
    The icy qualities of Last Exit's synths are retained, but the old minimalism is certainly gone, and enough real warmth buoys these productions that songcraft actually develops.
    • 75 Metascore
    • 95 Critic Score
    Every line is razor sharp and yet brilliantly descriptive.
    • 81 Metascore
    • 80 Critic Score
    There's more body here, more barroom spill and rollick. There's also a feeling Ward is pushing at the fabric of his music, trying to expand and progress. But the same cinematic mist hovers, the same old, old intimacy fans know well.
    • 74 Metascore
    • 80 Critic Score
    Her rock-oriented approach here will please some, but such a genre-hopping exercise is only occasionally provocative.
    • 76 Metascore
    • 90 Critic Score
    No, this album is not superfluous -- far from it. The Avalanche brings Stevens' exacting vision on Illinois into sharper focus.
    • 67 Metascore
    • 80 Critic Score
    I'm not clear on everything Cex, but I've heard enough to know you want to hear this.
    • 82 Metascore
    • 90 Critic Score
    Rather Ripped is what you'd expect from a Sonic Youth that's getting back to the cool rock 'n' roll sound they trademarked years ago, completed by a tagline of frenzied feedback and chiming guitars.
    • 80 Metascore
    • 90 Critic Score
    If naysayers can't get past the sheen of spiced-up production, it's their loss.
    • 77 Metascore
    • 90 Critic Score
    While their sound may be familiar, Camera Obscura are anything but run-of-the-mill.
    • 80 Metascore
    • 80 Critic Score
    Although Loveless and Psychocandy are obvious reference points, this album actually succeeds most on its charming, candy-colored pop songs.
    • 64 Metascore
    • 70 Critic Score
    Really, there are few surprises here, but there is a crucial one, which is that Continental gradually reveals itself to be a solidly constructed and rather strong collection.
    • 80 Metascore
    • 90 Critic Score
    At the close, the guitars surge forward in waves of noise, a precursor of what's to come. And come it does, with the hammering, staccato fuzz of the album's title track and the speed riffs of "Woman on the Screen."
    • 81 Metascore
    • 95 Critic Score
    An album full of vitality that is smart and intelligent without being boring. More importantly, however, it is simply incredible.
    • 69 Metascore
    • 70 Critic Score
    Bitter Tea offers immediacy, but little reward for return visits; offers vastness -- at a dawdling 73 minutes -- but nothing in the way of big ideas.
    • 70 Metascore
    • 90 Critic Score
    Listening to Introduction is like viewing the world through someone else's glasses, skewed, disturbing and perhaps causing a bit of vertigo.
    • 71 Metascore
    • 65 Critic Score
    It is, at one time or another, twee reggae, hipster rock-ism, synth-pop balladry, post-Interpol gothickry. It's an inconsistency that's both noble and annoying.
    • 76 Metascore
    • 70 Critic Score
    Somewhere in the mess of feedback and sonic sluggishness is something that strikes a nerve, makes you want to hear it again.
    • 80 Metascore
    • 90 Critic Score
    There's an indefinable freshness and purity here.
    • 76 Metascore
    • 90 Critic Score
    What makes At War With the Mystics different is spontaneity -- and not spontaneity in a jazz sense. Listening to this album you get the feeling that absolutely anything could happen -- as if it's taking final form only as it reverberates off your eardrums.
    • 75 Metascore
    • 80 Critic Score
    Ringleader of the Tormentors feels rushed and underdone in both the songwriting and arrangements.
    • 70 Metascore
    • 90 Critic Score
    In the end, it is musicianship that makes Duper Sessions unquestionably successful.
    • 78 Metascore
    • 80 Critic Score
    My Morning Jacket are much more upfront, and pretty easy to share. Band of Horses keep a lot shrouded in effects and indistinct lyrics.