Prefix Magazine's Scores

  • Music
For 2,132 reviews, this publication has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 2.9 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 Modern Times
Lowest review score: 10 Necessary Evil
Score distribution:
2132 music reviews
    • 71 Metascore
    • 60 Critic Score
    In small doses, Animal Lover acts as the perfect antidote to a musical landscape often cluttered by acts too timid to truly challenge their audiences.
    • 73 Metascore
    • 50 Critic Score
    More carnival claustrophobia than world tour.
    • 85 Metascore
    • 80 Critic Score
    There is little doubt Edan is an innovator on the production tip, but he’s not nearly as talented an emcee.
    • 83 Metascore
    • 70 Critic Score
    Blueprint could have cut-and-pasted his way through 1988, recycling hooks, beats and samples, but he clearly took his time and laid out his vision.
    • 78 Metascore
    • 50 Critic Score
    Lullabies is ultimately a demanding, schizophrenic, lopsided album. At its best, it's an elaboration on what Queens have become known for -- distinct, droning, melodic, heavy guitar rock. At its worst it's futile, go-nowhere studio sludge.
    • 76 Metascore
    • 60 Critic Score
    Ghetto Bells finds Chesnutt running the gauntlet -- string-laden balladry, desert folk-rock, thumb-piano noodling.
    • 67 Metascore
    • 40 Critic Score
    Put simply, this music is slow, the same slow soggy tempo the whole way through.
    • 80 Metascore
    • 80 Critic Score
    In a perfect combination of inspired production, innovative instrumentation and transcendent songwriting, Akron/Family is a richly layered and flowing album that is as emotional as it is challenging.
    • 78 Metascore
    • 70 Critic Score
    There are no bad songs on Employment. There are maybe a couple not-good ones toward the end, but even those are so tightly wound and polished they could end up lodged in your head for days.
    • 68 Metascore
    • 30 Critic Score
    Origin is a saccharin mouthful of bloated riffs, burdensome lyrical clichés, and second-rate studio trickery -- songs that lurch rather than rock. In other words, it’s Oasis at their best or the Doves at their absolute worst.
    • 72 Metascore
    • 70 Critic Score
    Their chemistry undeniable, this debut could serve as a watershed for both members’ future creative outputs.
    • 75 Metascore
    • 40 Critic Score
    Though comparisons to the Postal Service and M83’s newer work are somewhat understandable, the record lacks emotion in a way that makes it better suited for a Volvo commercial or a Starbucks compilation.
    • 69 Metascore
    • 70 Critic Score
    Hurricane Bar sees the group amp up the hand-clapping choruses and delivers a leaner collection that recalls everything from the Animals and the Small Faces to Hanoi Rocks and the Libertines.
    • 63 Metascore
    • 50 Critic Score
    Though it’s soothing at times, A Few Steps More doesn’t really boast any kind of bumps, and it’s difficult to discern one track from the next.
    • 73 Metascore
    • 50 Critic Score
    Once you get past the initial, pleasing familiarity, though, In the Clear becomes a decidedly middling listening experience.
    • 58 Metascore
    • 50 Critic Score
    After nearly a half-decade of records, Johnson still hasn’t learned anything about time signatures or experimentation, but at least he knows what he does best and sticks to it.
    • 65 Metascore
    • 40 Critic Score
    Her effort is continuously admirable, but what is frustrating about The Beekeeper is the music itself: it’s almost formulaic, including even the token song that displays a powerful sense of womanhood.
    • 71 Metascore
    • 80 Critic Score
    It jumps from light pop to disco funk to noise samples without ever sacrificing melody for the sake of overindulgence.
    • 57 Metascore
    • 50 Critic Score
    Much of Awake Is the New Sleep feels labored, lyrically and musically.
    • 78 Metascore
    • 70 Critic Score
    It is uncompromising, brutally honest... and adroit at melding many genres together without losing sight of the fact it is first a hip-hop record.
    • 88 Metascore
    • 80 Critic Score
    Antony has found a voice that expresses what it feels like to be trapped in that gray area between misery and rage.
    • 69 Metascore
    • 80 Critic Score
    Her music-box arrangements have a child-like giddiness about them, but this collection of glittering songs has an emotional and sonic maturity that will keep you listening long past bedtime.
    • 73 Metascore
    • 80 Critic Score
    One of 2005’s most pleasurable albums.
    • 63 Metascore
    • 60 Critic Score
    Imagine Manu Chao, Serge Gainsbourg and the Cars all caramelized together.
    • 57 Metascore
    • 40 Critic Score
    When the World Was Our Friend is for third-tier tone-deaf hipsters.
    • 70 Metascore
    • 80 Critic Score
    If the sound of being eaten alive is something you would like to hear, by all means, shake a leg to Burned Mind.