Sonicnet's Scores

  • Music
For 287 reviews, this publication has graded:
  • 55% higher than the average critic
  • 3% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 2.2 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 Bow Down To The Exit Sign
Lowest review score: 30 Unified Theory
Score distribution:
  1. Negative: 1 out of 287
287 music reviews
    • 62 Metascore
    • 60 Critic Score
    Inevitably, all the shifts in tempo, mood and lyrical slant ultimately hurt Morning View more than they help.
    • 62 Metascore
    • 60 Critic Score
    Filled with the sort of aggressive, testosterone-fueled rage that has helped make DMX the Henry Rollins of hardcore hip-hop.
    • 62 Metascore
    • 50 Critic Score
    The dearth of memorable melodies ruins the once-successful formula.
    • 72 Metascore
    • 50 Critic Score
    Ultimately, the four-on-the-floor rhythm and riffing quickly become repetitive, blunting Get Ready's impact.
    • 78 Metascore
    • 70 Critic Score
    Feminist Sweepstakes does occasionally stumble.
    • 83 Metascore
    • 80 Critic Score
    A smart, sensitive blend of head and heart.
    • 91 Metascore
    • 80 Critic Score
    Casablancas is all old-school rocker in the Mick Jagger/Chris Robinson mold -- an ugly/pretty boy out to beg, borrow and bleed for even prettier women while acting like nothing ever satisfies.
    • 76 Metascore
    • 70 Critic Score
    It's not inappropriate to think of Ten New Songs as an audio book of poetry with musical accompaniment.
    • 85 Metascore
    • 80 Critic Score
    Without resorting to sappy new age or yuppie lounge cliches, Hebden has created a blissed-out ambient album for the post-rave generation.
    • 69 Metascore
    • 70 Critic Score
    Garbage have finally discovered a hint of the blood-pumping human heart underneath their icy exterior.
    • 59 Metascore
    • 60 Critic Score
    Rule's scattered third album mixes love and war with uneven results, as his simple lyrics and unimaginative storytelling outweigh the stellar musical moments on this 16-cut collection.
    • 81 Metascore
    • 80 Critic Score
    Vega's been good before, especially on her eponymous 1985 debut and its '87 follow-up, Solitude Standing, but never as consistently good as she is here.
    • 78 Metascore
    • 80 Critic Score
    A curious time warp of a recording: loud, soft, tender, mean, thoughtful, reckless.
    • 74 Metascore
    • 80 Critic Score
    On Let It Come Down, Jason Pierce successfully peels away layers of pretension and exposes the humanity at the heart of his music.
    • 73 Metascore
    • 60 Critic Score
    On the surface, Callahan sounds like he's getting out more.
    • 71 Metascore
    • 90 Critic Score
    Even though one can hear echoes of everything from "The Threepenny Opera" to Bitches Brew here, the funk is in her DNA.
    • 60 Metascore
    • 70 Critic Score
    V
    V doesn't bring Live right back to earth, but it does find the group playing to strengths, experimenting with recording techniques, and striving for renewed relevance.
    • 65 Metascore
    • 70 Critic Score
    Surprisingly, Strange Little Girls is a street project -- daring, visceral and engaging, even when it's not fully successful.
    • 71 Metascore
    • 70 Critic Score
    In sharing its predecessor's desire to cover every musical base, Goodbye Country (Hello Nightclub) suggests a continued identity crisis.
    • 93 Metascore
    • 80 Critic Score
    It's been a good three decades since Dylan has sounded as footloose and, er, freewheeling as he does on much of Love and Theft. That it comes on the heels of '97's haunted, hellhound-on-my-trail-vibed Time Out of Mind makes it all the more remarkable.
    • 80 Metascore
    • 80 Critic Score
    Continues in the bucolic vein of Deserter's Songs, and sounds almost as wondrous.
    • 58 Metascore
    • 60 Critic Score
    The album never truly develops, as the group prefers to rehash old stuff rather than break new ground.
    • 75 Metascore
    • 70 Critic Score
    The new Ben Folds is a lot like the old one: as unpredictable as he is talented.
    • 75 Metascore
    • 70 Critic Score
    While the result is hit-or-miss, the Charlatans manage to hit much more than they miss.
    • 60 Metascore
    • 60 Critic Score
    Mink Car is all over the map, an ideal piece of entertainment for listeners simultaneously blessed and cursed with high IQs and attention deficit disorder.
    • 86 Metascore
    • 80 Critic Score
    Even darker and more emotionally resonant than its impressive predecessors.
    • 88 Metascore
    • 80 Critic Score
    The Blueprint is not a perfect album. Some of the material is undoubtedly filler. But this recording makes it clear that hip-hop is supposed to be fun -- and that Jay-Z is having a ball.
    • 80 Metascore
    • 80 Critic Score
    Slayer return to the knuckle-busting fury of their demonic 1986 speed metal classic, Reign in Blood, while still somehow managing to spike their sonic mayhem with some catchy riffing and the odd melodic vocal line.
    • 59 Metascore
    • 80 Critic Score
    While Carey has never been a particularly confessional musician, Glitter seems a step in a more cathartic direction, from which subsequent albums should no doubt benefit.
    • 63 Metascore
    • 50 Critic Score
    Date of Birth is packed with hard-driving, repetitive beats that are equal parts Wu-Tang Clan and Gang Starr, yet the music lacks either of those groups' charms.