The New York Times' Scores

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For 2,073 reviews, this publication has graded:
  • 55% higher than the average critic
  • 4% same as the average critic
  • 41% 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 Live in Europe 1967: Best of the Bootleg, Vol. 1
Lowest review score: 0 Shatner Claus: The Christmas Album
Score distribution:
  1. Positive: 1,595 out of 2073
  2. Mixed: 443 out of 2073
  3. Negative: 35 out of 2073
2073 music reviews
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    • 67 Metascore
    • 40 Critic Score
    Joanne
    While Joanne is elemental, nothing about it is bare. Instead, it’s confused, full of songs that feel like concepts in search of a home, small theater pieces extruded from other imaginary productions and collected in one miscellany bin.
    • 79 Metascore
    • 80 Critic Score
    Cody
    [Producer Rob Schnapf has] recentered the band’s urgency from its head-rush musical intensity to Mr. Johnson’s voice, which is clearer and more melodically driven than before. The songs have more structure, too.
    • 73 Metascore
    • 70 Critic Score
    13
    13 has enough ominous tension to justify numerical superstitions. In fact, you could do worse than to make this album a cornerstone of your Halloween soundtrack this year.
    • 72 Metascore
    • 80 Critic Score
    Revolution Radio
    Tumult and desperation ignite the music on Revolution Radio. It’s the group’s first batch of new songs since “Uno! Dos! Tré!,” the three-disc surfeit of more straightforward tunes released in 2012. Those songs were built around snappy catchphrases and brisk, punky riffs. Green Day’s new ones aren’t so easily summed up, but they can roar through their contradictions.
    • 87 Metascore
    • 70 Critic Score
    22, A Million
    The results are, in many places, as ethereally and lustrously beautiful as the best Bon Iver material but more removed. ... Because this album travels in so many directions, there are places where Mr. Vernon sounds unanchored, and where his reluctance gives way to lack of commitment. His naïveté has always been carefully studied, but sometimes here, especially in the middle of the album, it feels just vague.
    • 82 Metascore
    • 80 Critic Score
    I Had a Dream That You Were Mine
    Persuasively moody. ... More than anything, it seems the simple byproduct of strong personalities enjoying the process of finding common ground.
    • 74 Metascore
    • 80 Critic Score
    Hard II Love
    While Hard II Love doesn’t include a song as cathartic as Usher’s “Climax,” from 2012, it’s full of smaller satisfactions.
    • 65 Metascore
    • 50 Critic Score
    AIM
    Much of the album comes across as lightweight. Too many of the songs sound like sketches, running out of ideas midway through.
    • 87 Metascore
    • 80 Critic Score
    My Woman
    The music toys with nostalgia, with the reassuring dependability of structure and instrumental arrangements.
    • 71 Metascore
    • 50 Critic Score
    Glory
    Even with her voice upfront, Ms. Spears isn’t singing anything particularly personal.
    • 87 Metascore
    • 80 Critic Score
    Blonde
    Blonde is dewy, radiant and easeful, with an approach to incantatory soul that evolves moment to moment. It’s feverish but unhurried, a slowly smoldering set that’s emphatic about loneliness.
    • 80 Metascore
    • 70 Critic Score
    Golden Sings That Have Been Sung
    On some level his songs are all age-old tales, but put together in his own exacting way, which makes them new.
    • 75 Metascore
    • 70 Critic Score
    SremmLife 2
    Rae Sremmurd is particularly well-suited to the carnival sounds of its debut, but in many places here feels as if it’s getting squelched.
    • 82 Metascore
    • 80 Critic Score
    The Bird & the Rifle
    The Bird & the Rifle is her 10th studio album in 17 years, and her most finely focused.
    • 77 Metascore
    • 70 Critic Score
    Revelation, Pt. 2: The Fruit of Life
    More often than not, Mr. Marley lives up to the ambition that his last name demands of him. With any luck, his next album will have fewer guests and more of the introspection and steadfastness he reveals in “It’s Alright,” a hymnlike ballad that he sings on his own.
    • 86 Metascore
    • 80 Critic Score
    Love & Hate
    The music makes space for him to ache.
    • 79 Metascore
    • 80 Critic Score
    Nothing's Real
    There’s something knowing and clever, but never gratingly so, in the way she’s balancing ideas of newness and collective memory.
    • 63 Metascore
    • 60 Critic Score
    California
    On this pleasantly familiar if not especially imaginative new album, the band’s subject matter verges on the bittersweet, or just outright bitter, but still they grin. ... The album is overlong, and full of songs that have achieved their purpose by the halfway mark.
    • 64 Metascore
    • 80 Critic Score
    Lil B.I.G. Pac [Mixtape]
    It’s a vivid album about how the appeal of street life is just as powerful, if not more so, than the appeal of a shot at real fame.
    • 69 Metascore
    • 60 Critic Score
    Ain't Who I Was
    There are a few too many moments--starting with “Mercy,” the opening track--when Mr. Cobb seems fixated on the idea of Ms. Bishop as a new Dusty Springfield. The ghost of “Dusty in Memphis” hovers over much of the album, and while there are worse problems to have, it runs the risk of putting Ms. Bishop in the same corner where a Leon Bridges passes as an acceptable stand-in for Sam Cooke.
    • 83 Metascore
    • 80 Critic Score
    Still Brazy
    Still Brazy is an artisanal, proletarian Los Angeles gangster rap record, less tribute to the sound’s golden age than a full-throated and wholly absorbed recitation.
    • 82 Metascore
    • 80 Critic Score
    The Dreaming Room
    Many of her songs seem ready-made for some kind of theatrical adaptation. They’re authentically dramatic, built on the swells of brass and strings and percussion, which might suddenly disappear behind some new peak of melody or meaning sung by Ms. Mvula.
    • 66 Metascore
    • 80 Critic Score
    The Getaway
    It doesn’t sound exactly like classic-vintage Chili Peppers, but it might just sound like how you remember them.
    • 72 Metascore
    • 70 Critic Score
    Jackie Lynn
    The record feels short, which might be a good thing: She leaves you guessing what she’s up to.
    • 77 Metascore
    • 80 Critic Score
    American Tunes
    Several tracks feature Mr. Toussaint alone at the piano, and they’re reminders of the regional traditions he elegantly upheld.
    • 75 Metascore
    • 70 Critic Score
    Strange Little Birds
    Even though structurally Strange Little Birds evokes the band’s early work, it’s clear there’s mellowness afoot.
    • 72 Metascore
    • 60 Critic Score
    Kidsticks
    It’s an experimental record that often sounds like a meditative one, or vice versa, and it often seems better on paper than through the speakers.
    • 79 Metascore
    • 80 Critic Score
    Good Times!
    Mr. Dolenz sings as if there’s no reason to take anything too seriously. Fifty years later, the Monkees are still endearing.
    • 84 Metascore
    • 80 Critic Score
    Tropix
    [A] stylistically varied, intricately detailed, slyly coherent fourth album.
    • 89 Metascore
    • 80 Critic Score
    Coloring Book [Mixtape]
    On the jubilant, nourishing Coloring Book, his third solo release, has blossomed into a crusader and a pop savant, coming as close as anyone has to eradicating the walls between the sacred and the secular.
    • 60 Metascore
    • 50 Critic Score
    Thank You
    She has a round and slightly stodgy voice that’s most effective when it aims lowest, as on the winning novelty song “Dance Like Yo Daddy,” full of quizzical dance instructions (“Can you overbite? Can you old man overbite?”) and doo-wop harmonies over a skronking sax and sock-hop swing. Elsewhere on this spotty album, Ms. Trainor grinds her way through tough-stand songs like “Watch Me Do,” a homage to Destiny’s Child’s “Independent Women (Part 1),” and “Me Too,” where she awkwardly proclaims self-love.
    • 78 Metascore
    • 60 Critic Score
    The Colour In Anything
    "The Colour in Anything" grows self-pitying, almost maudlin, in ways Mr. Blake has managed to avoid in the past simply by using more elusive lyrical metaphors. It is also unreasonably long: a little over an hour and a quarter.
    • 88 Metascore
    • 80 Critic Score
    A Moon Shaped Pool
    Grim tidings arrive amid gorgeous backdrops ... The results often hark back to the late 1960s; in a way, "A Moon Shaped Pool" is Radiohead’s psych-folk album.
    • 77 Metascore
    • 70 Critic Score
    Will
    [Will] may be Ms. Barwick’s most conventionally light, soothing record, and is sometimes a little inert as a result.
    • 69 Metascore
    • 70 Critic Score
    VIEWS
    Overall, Views contains Drake’s most straightforward lyrics, and his emotional excavations aren’t as striking as they were a few years ago, when they had the sting of the new to them.
    • 65 Metascore
    • 70 Critic Score
    Hope
    Between the giant, smiley singalongs, there’s a little more darkness than the band’s sound suggests. The verses grapple with impulses toward destruction and self-destruction. “If I weren’t so selfish/I could hear your calls for help,” Mr. Ward sings in “I Still Make Her Cry.” But it’s rarely long before another huge chorus arrives to banish all misgivings.
    • 92 Metascore
    • 90 Critic Score
    Lemonade
    ["Sorry,"] is a combative, unglossy track on an album full of them. ... As she did with her 2013 album, “Beyoncé,” she has also paired the music with full-length video that expands and deepens its impact.
    • 74 Metascore
    • 80 Critic Score
    Always Strive and Prosper
    Always Strive and Prosper is a chaotic, buoyant album, moving at varying speeds and with different textures. But uniting it all is an almost pervasive feeling of warmth, a sense that its creator comes from a world where he’s surrounded by care, even if he doesn’t always return it.
    • 73 Metascore
    • 80 Critic Score
    The Diary
    There are musical and lyrical nods here to R. Kelly, Jay Z, Big Punisher and more. For better and worse, The Diary is strikingly of its time.
    • 65 Metascore
    • 70 Critic Score
    Santana IV
    The album has a few missteps, like the goopy arrangement on the ballad “Sueños” and some hokey lyrics. But what comes through nearly every song is a sense of camaraderie and joyful relief: no more kowtowing to radio and countless ways to jam.
    • 75 Metascore
    • 80 Critic Score
    Crab Day
    [A] charming and sometimes startling record.
    • 67 Metascore
    • 70 Critic Score
    Cleopatra
    It’s a move away from crowd-pleasing ditties, a valiant turn inward and, at times--in “Gale Song,” “In the Light” and “Angela”--the songs reach a distillation of yearning and solitude. But over the course of an entire album, a glint of the Lumineers’ old whimsy would have helped.
    • 66 Metascore
    • 80 Critic Score
    Junk
    There is some skill here: strong melodies, extra chords, synthesized string arrangements, a tremendously accomplished chromatic-harmonica solo. They are intense.
    • 82 Metascore
    • 70 Critic Score
    Love Streams
    The atmosphere of this music is lighter and less haunted than some of Mr. Hecker’s past work; some parts of the new album, like “Music of the Air,” can be thrilling in its evocation of a seamless connection between the physical and the synthetic. It also, sometimes, seems more impersonal, as if the ideas have the edge over their physical manifestation.
    • 75 Metascore
    • 70 Critic Score
    Slay-Z [Mixtape]
    Her outrageous self-possession plays out more vibrantly on some of these tracks, like “Big Talk,” which puts her up against the rapper Rick Ross, and “Riot,” which has a klaxon-like hook handled by Nina Sky. There’s no end to Ms. Banks’s swagger, though her toughest moments veer toward the style of a hometown rival, Nicki Minaj.
    • 69 Metascore
    • 60 Critic Score
    Mind of Mine
    Throughout this album, Mr. Malik opts for a low-octane approach, with varying success.
    • 78 Metascore
    • 80 Critic Score
    Next Thing
    Ms. Kline’s songs don’t last long, and neither does her imagery, but she can be exceptional at capturing how quickly frail things can break, taking devastating turns in just a couple of lines.
    • 75 Metascore
    • 80 Critic Score
    Lukas Graham
    It’s sweet earnestness in a shrewd, ambitious package. The music, like much Scandinavian pop, ignores genre to draw on whatever works, current and vintage.
    • 82 Metascore
    • 70 Critic Score
    A Cosmic Rhythm with Each Stroke
    Much of the music feels transitory, like smoke escaping. But “Notes on Water,” the last part of the suite, wants to stick around.
    • 76 Metascore
    • 80 Critic Score
    Gensho
    If you hear the record in the manner suggested to you, Merzbow’s music, unsentimental to the core, sluices through the elegant silences in and among the Boris tracks. There is an aggressive tension here, which often feels awkward or wrong. But then it can remind you of the aggressive tension you may have heard and liked in Boris or Merzbow in the first place.
    • 80 Metascore
    • 80 Critic Score
    All My Demons Greeting Me as a Friend
    Fears and sorrows hold a radiant gleam on All My Demons Greeting Me as a Friend, the rapturous debut album by the 19-year-old Norwegian singer and songwriter Aurora.
    • 76 Metascore
    • 80 Critic Score
    The Rarity of Experience
    It evokes aspects of Miles Davis’s electric period and various kinds of rock-beyond-rock--Slint, Sonic Youth and so on. You sense Mr. Forsyth’s control easing a bit here, and the music grows deeper and better.
    • 84 Metascore
    • 70 Critic Score
    Emily's D+Evolution
    She still favors too many Wayne Shorterish chord progressions to truly suit the easily impressed. It’s precisely when she stretches--as on “Rest in Pleasure,” which has a melody you wouldn’t wish on a less acrobatic singer--that Ms. Spalding seems most ingenuous and unbound.
    • 80 Metascore
    • 80 Critic Score
    Heron Oblivion
    A Heron Oblivion moment--there’s a powerful one in nearly every track.
    • 79 Metascore
    • 80 Critic Score
    When You Walk a Long Distance You Are Tired
    Throughout the album, the lyrics don’t find comfort or resolution. That’s left to the music: in the way the guitars tangle and persevere, in the grace of the melodies, and in the simple fact that Ms. Leschper dared to write these songs.
    • 71 Metascore
    • 70 Critic Score
    Summertime: Willie Nelson Sings Gershwin
    His agreeably slight new release, Summertime, is a songbook album, a stroll through some of George and Ira Gershwin’s best-loved songs.
    • 83 Metascore
    • 80 Critic Score
    SVIIB
    Minimalist repetition turns into pop certitude, and the arrangements--sorting out the many tracks Mr. Curtis recorded--set aside the buzzy, abrasive keyboard tones of the group’s 2012 album, “Ghostory,” for a sonic vocabulary of reverberation and depth, of optimistic promise.
    • 76 Metascore
    • 80 Critic Score
    Ladies & Gentlemen
    The roster is impressive--it includes Mary Chapin Carpenter, Joan Osborne, Joss Stone, Lee Ann Womack, Sarah Jarosz and Sara Watkins--and the songs are even better.
    • 84 Metascore
    • 80 Critic Score
    In My Mind
    The best parts of In My Mind, BJ’s strong major-label debut album, come when this young singer tasks himself with ethical responsibility.
    • 64 Metascore
    • 80 Critic Score
    Phase
    Phase is a virtuosic, thrill-packed album, ricocheting among extremes before concluding with “My House Is Your Home,” which uses just Mr. Garratt’s voice, his piano and apparently a creaky piano stool. Yet underlying each strenuous track is a clear-cut, old-fashioned pop structure: verses and choruses, tension and release, matters of the heart. But now they are buffeted, brilliantly, from all directions.
    • 75 Metascore
    • 80 Critic Score
    The Life Of Pablo
    [He] has perfected the art of aesthetic and intellectual bricolage, shape-shifting in real time and counting on listeners to keep up. More than on any of his previous albums, "Pablo" reflects that rambling, fearsome energy. This is Tumblr-as-album, the piecing together of divergent fragments to make a cohesive whole.
    • 73 Metascore
    • 80 Critic Score
    Human Ceremony
    Its debut album, Human Ceremony (Fat Possum), moves along briskly and even impatiently with circular picking patterns, transparent strummed chords and or fuzz-toned riffs behind Julia Cumming’s airy voice.
    • 83 Metascore
    • 80 Critic Score
    We Are King
    It’s a musicians’ album, going deeper into the strategies of a strain of R&B that might begin with Stevie Wonder’s “Music of My Mind” (1972) and continue through Patrice Rushen’s “Straight From the Heart” (1982), as well as any number of Prince ballads and Luther Vandross party songs.
    • 78 Metascore
    • 80 Critic Score
    Promise
    Her dramatic, meticulous and gothic songs describe enticements that twist into admonishments, and everything seems to be slipping out of her hands.
    • 73 Metascore
    • 50 Critic Score
    Anti
    Anti is a chaotic and scattershot album, not the product of a committed artistic vision, or even an appealingly freeform aesthetic, but rather an amalgam of approaches, tones, styles and moods.
    • 67 Metascore
    • 50 Critic Score
    This Is Acting
    Even as she and her producers flaunt their layered vocals and whiz-bang sound effects, there are already so many of Sia’s midtempo victim-to-victory anthems around that they offer diminishing returns, particularly when listened to as an album.
    • 77 Metascore
    • 80 Critic Score
    Pond Scum
    Covering an eight-year span, they share a hushed and crackly intensity, often with little more than voice and acoustic guitar.
    • 78 Metascore
    • 80 Critic Score
    In the Magic Hour
    Sweetness and sadness find a tenuous balance in the voice of Aoife O’Donovan--and in the songs on her second album, In the Magic Hour.
    • 73 Metascore
    • 70 Critic Score
    The Catastrophist
    Tortoise is a band about the blurry middles, which is why “The Catastrophist,” at its best and most beautiful (in songs like “Hot Coffee,” “Tesseract” and its title track, switching among strains of cyborg pop and warm, heroic melodies) sounds like incidental music for films, or a record to play on a club sound system in between bands.
    • 85 Metascore
    • 80 Critic Score
    Malibu
    Malibu--his second album under this moniker, following a stretch under the name Breezy Lovejoy--is multilayered. It’s also incisive, languorous and deeply felt, a warm bath of studiously relaxed hip-hop and soul.
    • 69 Metascore
    • 70 Critic Score
    Death of a Bachelor
    Panic! at the Disco has always favored a style both steroidal and slick, and Mr. Urie isn’t out to reinvent it here.
    • 52 Metascore
    • 50 Critic Score
    Wildfire
    She has a clear, edgeless voice, and she’s versatile, though often here it can sound like she’s blindly experimenting with styles.
    • 51 Metascore
    • 60 Critic Score
    Ardipithecus
    This is a record that never stops threatening to be dull--in the way that Miley Cyrus’s record of mind-blurt autonomy from this year was dull--but rarely is, except when others try to streamline a lumpy aesthetic.
    • 87 Metascore
    • 80 Critic Score
    Blackstar
    It’s at once emotive and cryptic, structured and spontaneous and, above all, willful, refusing to cater to the expectations of radio stations or fans.
    • 85 Metascore
    • 70 Critic Score
    Larry Campbell and Teresa Williams
    It’s a more countrified album, with the two singers, partners by marriage, often harmonizing in a rough blend. Things work best when Ms. Williams takes the lead.
    • 63 Metascore
    • 70 Critic Score
    I Changed a Lot
    Most of this album is an extension of DJ Khaled’s tenets of more and louder and still more. That extends to his guest list, as packed as ever.
    • 73 Metascore
    • 60 Critic Score
    Tell Me I'm Pretty
    The bigger change is in the songs, which no longer promise that rock brashness can overpower adversity.... It’s a daring, deliberate shift for Cage the Elephant. But in its single-mindedness, the album sacrifices the wildly seesawing balance between life force and mortality that gave the band its verve.
    • 60 Metascore
    • 50 Critic Score
    The Buffet
    The point is that all of these songs are capable, and one is not much better than another.
    • 81 Metascore
    • 70 Critic Score
    Mutant
    The downside of the now-ness, the resistance against static definition, is lack of resolution. Mutant is hard to listen to, sometimes in a salutary way and sometimes not.
    • 78 Metascore
    • 70 Critic Score
    Dark Sky Island
    The lyrics often mention homecomings; the music is a warm bath.
    • 81 Metascore
    • 70 Critic Score
    Kannon
    Kannon is surprising in two ways. One is its brevity: just over half an hour. The other is its austerity, even for a fairly austere band. This music demands a lot. It’s hard to love, and hard to share.
    • 60 Metascore
    • 70 Critic Score
    A Head Full of Dreams
    Blissful even at its most bittersweet, it’s an album on which three songs make lyrical references to diamonds--as in, “We are diamonds”--and every surface contentedly gleams.... Mr. Martin, who has rediscovered the radiant properties of his voice, gilds a lot of lyrical treacle and borderline nonsense here.
    • 75 Metascore
    • 70 Critic Score
    25
    25 manages to sound all of a piece, even as the songs veer from phenomenal to tepid. In places, everything comes together.
    • 56 Metascore
    • 70 Critic Score
    Montage Of Heck: The Home Recordings
    This is for completists.
    • 76 Metascore
    • 80 Critic Score
    Free TC
    Free TC--often exceptional, and easily one of the best R&B albums of this year--is elaborate in conception and execution but still feels off the cuff.
    • 84 Metascore
    • 70 Critic Score
    Mr. Misunderstood
    The album, a love letter to his influences, is the gentlest of Mr. Church’s releases, the one that least wears his rowdy tendencies on its sleeve.
    • 63 Metascore
    • 50 Critic Score
    Purpose
    Even though Mr. Bieber is younger than all of the men of One Direction, he sounds exponentially more experienced, and exponentially more fatigued on Purpose. He is also the best singer of the bunch, and the one with a clear vision for his sound, even if he’s being largely denied it here.
    • 65 Metascore
    • 40 Critic Score
    Made in the A.M.
    Made in the A.M. is much the same, rootless and vague even when it lands on a clear style, like the Coldplay-esque “Infinity,” or “Never Enough,” a wacky number with intense a cappella gimmickry and exuberant mid-1980s drums and horns that recall, of all things, Huey Lewis and the News.... The music is too banal to support exceptional singing.
    • 68 Metascore
    • 80 Critic Score
    Aquaria
    The narratives of each song are fractured and inconclusive, but Aquaria elapses as an album with a sustained atmosphere of dread, determination and experiment.
    • 84 Metascore
    • 80 Critic Score
    10 Years Solo Live [Box Set]
    We’re off and away by then, following a mind awhirl in creative reverie. Mr. Mehldau--tracing connections, making digressions, but never quite forsaking the original framework--sounds both grounded and almost boundless.
    • 75 Metascore
    • 70 Critic Score
    The Documentary 2
    The Game is literally inseparable from his influences. He doesn’t digest them as other rappers might; instead, he wears them like brands. He too is joined by oodles of guests, a striking show of support for a midcareer rapper who’s pugnacious to boot. Both Kanye West and Drake appear here, and in strong form.
    • 79 Metascore
    • 70 Critic Score
    Teens of Style
    The music isn’t anywhere near pop-radio gloss. As Mr. Toledo sings about alienation, frustration, suicidal despair and, in “Times to Die,” about theological disputes and getting his demos heard, he’s still every bit the lone outsider. He’s lucky that he exorcises his troubles in the studio--or maybe we are.
    • 74 Metascore
    • 50 Critic Score
    Storyteller
    She largely picks songs that serve as launch platforms for her ballistic-missile voice, but they don’t cohere into a whole identity.... If Ms. Underwood has developed a thematic specialty, it’s the woman-done-wrong anthem. The ones on this album are some of the better songs here.
    • 88 Metascore
    • 90 Critic Score
    Divers
    [A] rather brilliant record.... You almost want to hold the whole thing still, flatten it out and study it.
    • 72 Metascore
    • 70 Critic Score
    Cold Beer Conversation
    Cold Beer Conversation is a bit looser than Mr. Strait’s last album, “Love Is Everything,” with convincing flashes of western swing (“It Takes All Kinds”). But the standouts here are the love songs.
    • 65 Metascore
    • 80 Critic Score
    All We Need
    Al We Need is full of confidently expressed delicateness.
    • 62 Metascore
    • 70 Critic Score
    35 MPH Town
    Where Mr. Keith is truly gentle, though, is in detailing the faultlines of the heart. “Beautiful Stranger” is a sweaty song about rekindled passion, delivered with Teddy Pendergrass intensity.
    • 73 Metascore
    • 70 Critic Score
    Beach Music
    Alex G’s narrators have often been traumatized, druggie, lovesick or inscrutable, and moving up the indie-rock circuit hasn’t made his new songs any more outgoing. Just the opposite: They are more cryptic and withdrawn.
    • 85 Metascore
    • 80 Critic Score
    The Agent Intellect
    Protomartyr is from Detroit, and there’s a dour, industrial affect to this record-- the band’s best, though like the others it can sometimes feel like one long song--which seems to confirm everything you think you know about that city.... But Mr. Casey’s excellent lyrics go bigger and more abstract.
    • 77 Metascore
    • 70 Critic Score
    V
    The balance of good cheer and dark clouds is partly in the arrangements--V comprises exceedingly bright songs verging on true pop-punk. It’s probably the cleanest-sounding Wavves album to date.
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