For 2,073 reviews, this publication has graded:
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55% higher than the average critic
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4% same as the average critic
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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: | Live in Europe 1967: Best of the Bootleg, Vol. 1 | |
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Lowest review score: | Shatner Claus: The Christmas Album |
Score distribution:
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Positive: 1,595 out of 2073
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Mixed: 443 out of 2073
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Negative: 35 out of 2073
2073
music
reviews
- By Date
- By Critic Score
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- Critic Score
A coherent album that juggles multiple missions. ... Black Panther the Album is very nearly as densely packed--with ideas, allusions and ambitions--as one of Mr. Lamar’s official solo albums.- The New York Times
- Posted Feb 14, 2018
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- The New York Times
- Posted Jan 31, 2018
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- Critic Score
Encore, his second major-label album, is an often lustrous revisiting of raucous Southern soul, rousingly delivered and pinpoint precise. He has a voice full of extremely careful scrape and crunch, but his howls never feel unhinged.- The New York Times
- Posted Jan 10, 2018
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What Makes You Country is among his most temperate albums, alternately soothing and fatiguing.- The New York Times
- Posted Dec 18, 2017
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Revival is probably the best of his recent albums, but like much of his post-peak output, it is a mix of the entrancing and the mystifying, full of impressive rapping that’s also disorienting.- The New York Times
- Posted Dec 18, 2017
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It’s not an album that courts new fans by radically changing U2’s style; instead, it reaffirms the sound that has been filling arenas and stadiums for decades.- The New York Times
- Posted Nov 29, 2017
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Soul of a Woman is a final set of genre-perfect old-school soul: brisk rumba-soul in “Sail On,” hand-clapping neo-Motown in “Rumors,” a girl-group slow dance topped with hovering strings in “When I Saw Your Face.” The band sounds as if it’s playing live in the studio.- The New York Times
- Posted Nov 15, 2017
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It is also Ms. Swift chasing that good feeling, pushing back against a decade of following her own instincts. And it works. Reputation is fundamentally unlike any of her other albums in that it takes into account — prioritizes, actually — the tempo and tone of her competition. Reputation is a public renegotiation, engaging pop music on its terms, not hers.- The New York Times
- Posted Nov 9, 2017
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Throughout this album, there are melodies, chord changes, lyrical images and structural tricks that feel indebted to Ms. Swift’s first three albums. Even the way Ms. Ballerini lingers over certain vowels suggests the shadow of Ms. Swift. In order to fully come into her own, though, Ms. Ballerini needs to shake free of that as effectively as she brushes off country music’s simpleton men.- The New York Times
- Posted Nov 9, 2017
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Pacific Daydream is both exuberant and plaintive; it’s full of songs about past joys and present loneliness, recalling friends and lovers who are no longer part of the singer’s life. ... But there’s a whole pop apparatus around him--a tambourine shaking, a firm beat, happy backup voices--to insist that Weezer’s kind of music is far from extinct.- The New York Times
- Posted Oct 25, 2017
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Masseduction stays poised between passion and artifice, trusting listeners to decrypt its paradoxes.- The New York Times
- Posted Oct 11, 2017
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The songs are intricately plotted to give the illusion of being impulsive and obsessive, buffeted by shifting emotions: by turns sensual and wary, vulnerable and guarded, leisurely and urgent.- The New York Times
- Posted Oct 5, 2017
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Now, on its fourth album, the band is moving toward an idiom that’s more flexible and contrasty yet just as gripping: Protomartyr’s own post-post-punk.- The New York Times
- Posted Sep 27, 2017
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Mr. Grohl and Foo Fighters wear their influences so openly--Pink Floyd in “Concrete and Gold,” Led Zeppelin in “Make It Right,” the Beatles all over the album--that they still come across as earnest, proficient journeymen, disciples rather than trailblazers.- The New York Times
- Posted Sep 13, 2017
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The National’s 2013 album, “Trouble Will Find Me,” was a culmination of sorts: accomplished, polished, measured, mature. Sleep Well Beast is just as polished and even more intricate. But it also shakes things up.- The New York Times
- Posted Sep 6, 2017
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The new self-titled Fifth Harmony album is potent and overflowing with sugary pleasures, full of military-grade pop production and laser-targeted singing.- The New York Times
- Posted Aug 30, 2017
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The band pushes its music further both inward and outward, toward the cryptic and toward the voluptuous. Its secrets and misgivings are gorgeously wrapped.- The New York Times
- Posted Aug 16, 2017
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While she can’t resist opening with “Bastards,” a sweetly sung kiss-off to those who have underestimated and manipulated her, Kesha devotes most of Rainbow to exploring a broad palette of emotions and unleashing the full range of her voice--a flexible instrument she didn’t always effectively showcase on the bratty pop of her earlier albums.- The New York Times
- Posted Aug 10, 2017
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- Critic Score
The [title] song finds a breezy balance between earnestness and exhilaration. Elsewhere, that balance falters, and Everything Now becomes a slighter album than its predecessors.- The New York Times
- Posted Jul 26, 2017
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Playboi Carti’s self-titled major-label debut album, which was released in April, is erratic, sometimes transfixingly so.- The New York Times
- Posted Jul 20, 2017
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Issa Album contains some of 21 Savage’s best and most fully realized songs to date--especially “Bank Account” and “Bad Business.”- The New York Times
- Posted Jul 20, 2017
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Lust for Life is her most expansive album; it has 16 songs, stretching nearly 72 minutes. It also, in rare moments, hints at a wink behind Ms. Del Rey’s somber lullabies.- The New York Times
- Posted Jul 20, 2017
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Mura Masa has a world of instruments and sounds to draw on, and a confident craftsman’s sense of what to include and what to leave out. His songs also understand that no system can contain or predict the vagaries of the human heart.- The New York Times
- Posted Jul 12, 2017
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Broken Social Scene’s music rejoices in what clever teamwork can construct.- The New York Times
- Posted Jul 5, 2017
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He’s evolved from dazzling taunts to ruminations that are sometimes snappy and sometimes lumpy. When snappy, though, they’re exhilarating.- The New York Times
- Posted Jul 5, 2017
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Only one song quietly stands out from the album’s flow: “Hard to Say Goodbye.” ... Mister Mellow is by no means the aural tranquilizer that its lyrics and packaging pretend to call for. The songs, for all their pretty, prismatic intricacies, are remote and forlorn.- The New York Times
- Posted Jun 28, 2017
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The remasters find some new glimmers of clarity and sparkle, particularly on guitar sounds, but aren’t startlingly different from past versions. ... After 20 years, it’s clear that “OK Computer” was the album on which Radiohead most strongly embraced and, simultaneously, confronted the legacy of the Beatles.- The New York Times
- Posted Jun 22, 2017
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Writing about parties and untrue love, Lorde risks joining the pop pack instead of upending it the way she did with “Pure Heroine.” But she still has the immediacy of her voice, with its smokiness, melancholy and barely suppressed rage, and she refuses to let her lyrics resolve into standard pop postures.- The New York Times
- Posted Jun 16, 2017
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She fully commands the foreground of her songs. Her voice is upfront, recorded to sound natural and unaffected, with all its grain and conversational quirks.- The New York Times
- Posted Jun 13, 2017
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There isn’t a flicker of musical edge on this album, only a belief in the crowdsourcing of ideas. Where Halsey sets herself apart is in her subject matter and manner of delivery.- The New York Times
- Posted Jun 7, 2017
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