Revolver's Scores

  • Music
For 235 reviews, this publication has graded:
  • 56% higher than the average critic
  • 7% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 0.2 points lower than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Relentless, Reckless Forever
Lowest review score: 30 Cattle Callin
Score distribution:
  1. Negative: 1 out of 235
235 music reviews
    • 76 Metascore
    • 70 Critic Score
    Producer Jens Bogren (Opeth, Amon Amarth) respectfully maintains the video game splendor that grabbed fans on 2006’s “Through the Fire and Flames,” but 'Reaching Into Infinity' shows this sextet still has more universes to explore.
    • 77 Metascore
    • 70 Critic Score
    Sacred attaches sleazy biker blues, perilous fuzz rock and libidinous punk to swaggerin’ doom as age and experience channel youthful days, questionable decisions and collapsed veins while avoiding tragedy to kick ass like 1978 never went away.
    • 84 Metascore
    • 80 Critic Score
    While She Sleeps have delivered the best album so far about post-Brexit/post-election anxiety. You Are We is frantic and grim, preoccupied with personal and political disintegration, but it’s also huge.
    • 82 Metascore
    • 70 Critic Score
    Tracks like “Thorns” and “Dancing in Madness” continue the band’s patented crossbreed of smoky chugs and far-out sonic filigrees, furthering the emotional edge of their sound. For others, the band’s tendency towards soaring prettiness instead of sludge punishment might make Heartless a little light-handed, lacking the full steamroller crush of classic stoner rock outfits.
    • 87 Metascore
    • 80 Critic Score
    the Georgia-based quartet venture even further into their own by creating songs that are alternately bluesy, soulful and propulsive--and often all three. ... It’s rare to come across a band that can do so much so well.
    • 85 Metascore
    • 80 Critic Score
    WYW
    This long-awaited solo project by Converge frontman Jacob Bannon is nothing like what fans would expect, and everything they could have hoped for.
    • 71 Metascore
    • 70 Critic Score
    “Our Finest Hour” is a speedy thrasher about being able to accept yourself in new situations. Actually, Overkill did just that with “Shine On,” which features fresh areas of groove, dynamics and lyrical contemplation.
    • 74 Metascore
    • 80 Critic Score
    Godless Prophets is as driven and vicious as anything the band has released with disembowlers like “This Is the Truth” and “Those Who Survived.”
    • 80 Metascore
    • 80 Critic Score
    Unsurprisingly, it sounds exactly like Teri Gender Bender fronting The Melvins--a fascinating concept in theory that turns out to be deliriously satisfying in practice.
    • 84 Metascore
    • 80 Critic Score
    The band deftly treads the fine line between revival and revision, blasting out fistfighting hard rock anthems like “Dancing with the Wrong Girl” and “Cold War Love” that synthesize Thin Lizzy’s flair for raging riffs, jazzy chords, twin-guitar harmonies, and ruggedly romantic words into something that’s both fresh-sounding and satisfyingly familiar.
    • 77 Metascore
    • 70 Critic Score
    The result is the least Insomnium-sounding record of its discography.
    • 84 Metascore
    • 80 Critic Score
    Touché Amoré’s music has always been intensely autobiographical and that introspection has reached peak levels on its fourth full-length, Stage Four.
    • 78 Metascore
    • 70 Critic Score
    Transcendence, the seventh release by his group is a diverse, multi-hued, cinematic offering that incorporates elements of prog, psychedelia, orchestral, and operatic metal without ever losing grasp of the importance of strong melodies.
    • 81 Metascore
    • 80 Critic Score
    Russian Circles deliver seven glorious cuts of cinematic elegance and regal thunder. Not to mention what might be its best album yet.
    • 73 Metascore
    • 70 Critic Score
    An evolution in sound from its debut album, Blues Pills serve up a masterful mix of soul and blues-rock that ferments into a tasty, tasty witches’ brew.
    • 80 Metascore
    • 70 Critic Score
    Of course the technical musicianship of the EP is top notch, but the form is what’s most striking.
    • 74 Metascore
    • 80 Critic Score
    Alternating between unsettling dissonance and bludgeoning force, the North American act’s sophomore effort showcases a crossbreed of stoner metal, sludge and noise that both enthralls and frightens the listener.
    • 74 Metascore
    • 80 Critic Score
    While Green’s falsetto is immediately distinctive, a pop-tinged ballad like “The Stutter Says a Lot” and the blazing screamo anthem “The Secret Meaning of Freedom” stand on their own as fully formed compositions. Second acts don’t usually sound this sweet.
    • 70 Metascore
    • 70 Critic Score
    XI
    This is one that truly has us at hello--or at least at “Reset,” the opening track of Metal Church’s first album with singer Mike Howe since 1993’s ‘Hanging in the Balance.’
    • 80 Metascore
    • 70 Critic Score
    Make no mistake, this album is not invoking bluegrass meadows and rolling hills. Instead, the stage is set to the cacophonous sound of Kentucky’s coalmines and devastating tornadoes for one helluva tale.
    • 88 Metascore
    • 80 Critic Score
    All told, it’s a huge and defiant return.
    • 74 Metascore
    • 80 Critic Score
    X (No Absolutes) is charged with brawn and brains--thrashy dynamics, chunky grooves, ferocious metal energy, and Tommy Victor’s sharp-tongued socio-political observations.
    • 74 Metascore
    • 70 Critic Score
    Fever Daydream may not be for everyone but there’s something about album’s inherent vulnerability that continues to resonate long after it ends.
    • 72 Metascore
    • 80 Critic Score
    Vintage-sounding yet definitely on its own trip, Dying Surfer Meets His Maker brings a sense of spiritual uplift to its mind-expanding sonic explorations, feeding your ears and soul simultaneously.
    • 77 Metascore
    • 70 Critic Score
    Whether it’s the Nine Inch Nails-meets John Coltrane scree of “The Last Stand,” the avant-jazz experimentation of “House of Warship” or the trippy classic rock hooks and ominous ambient drones of “House of Control,” IBS makes Marilyn Manson sound as rebellious as Ed Sheeran.
    • 74 Metascore
    • 70 Critic Score
    Polaris is, at last, the platonic ideal of a TesseracT album, the one where they get everything just right.
    • 83 Metascore
    • 80 Critic Score
    M
    The lyrics are in a combination of Danish, Norwegian and Icelandic, so it’s anyone’s guess what Bruun is talking about. Luckily,the music speaks for itself.
    • 81 Metascore
    • 80 Critic Score
    Shone saws off a series of heaving, mechanized drones with names like “The Barge,” “Cauterize” and “Teething,” each a dizzying, pulsating and pounding exposition of man’s ultimate sonic collusion with machine.
    • 79 Metascore
    • 80 Critic Score
    No matter how aggressive the instrumentation, the music always manages to push things forward, as showcased by the avant-orchestral finale, "The Abyss."
    • 75 Metascore
    • 80 Critic Score
    On their eleventh studio album, CoF’s schlock-black metal sound is more alive than it has in a while.