Tiny Mix Tapes' Scores

  • Music
For 2,889 reviews, this publication has graded:
  • 42% higher than the average critic
  • 2% same as the average critic
  • 56% lower than the average critic
On average, this publication grades 4.5 points lower than other critics. (0-100 point scale)
Average Music review score: 68
Highest review score: 100 Be the Cowboy
Lowest review score: 0 Sex Dreams And Denim Jeans
Score distribution:
2889 music reviews
    • 53 Metascore
    • 0 Critic Score
    His reunion with frequent collaborators belies a rich history of discovering and championing new voices. This ostensible distance from which Kanye preaches reveals King’s true tension: Kanye, like Kendrick on DAMN., is asking for our prayers, while also distancing himself from our hands and our mouths. And it doesn’t work. ... He has artistically lost track of his audience and himself in its midst.
    • 82 Metascore
    • 70 Critic Score
    Dawson doesn’t obscure his political predispositions, which are quite understood on tracks such as “Civil Servant” & “Fulfilment Centre,” for example. But 2020 is far from a soapbox, despite being clearly inflected by contemporary anxieties. Dawson’s characters speak for themselves through their lived experience.
    • 79 Metascore
    • 100 Critic Score
    Finding new ways to speak old truths. I think that’s why we may be here. I think that’s what Phil and Julie find as they wing and waver their voices around the songs of Lost Wisdom pt. 2.
    • 82 Metascore
    • 90 Critic Score
    With a less captivating vocalist, this kind of genre-hopping might have felt inconsistent, a potpourri in constant motion, too scattered to register an impact. But Polachek’s range, her penchant for leaving her gasps and deep breaths in her vocal tracks, her carefully thought-over phrasing — these tie Pang together into one very earwormy book of spells.
    • 72 Metascore
    • 70 Critic Score
    The 10 selections are less a swirling cacophonous summation of Purgas and Ginzburg’s documents thus far than a series of muted, disorganized footnotes. They step out and freeze like models on a runway at a pace both deliberate and seemingly tentative. ... Most vitally, Blossoms is Emptyset continuing to do uncompromising, restless Emptyset, with no sign of stagnation (even if this very phenomenon continues to be a crucial aspect of their sound).
    • 89 Metascore
    • 80 Critic Score
    There is a true communion with the brimmed-over melodies and rhythms, but a desperation that seems to know solemn silence isn’t what’s left over. Often, the listen feels like an impossible reprieve in a crumbling structure, with a rich echo helping to sell you on your own resolve. Not unlike love itself, it is a riveting, wrenching, and absurdly rewarding experience.
    • 80 Metascore
    • 80 Critic Score
    It’s a party album, which means it’s utopian. It’s a solo album, which means it’s rebooting. “Next Level Charli” doesn’t sound like a version we’ve never heard before; it sounds like the very same, not even accelerated but integrated, at 100% synchronization rate.
    • 80 Metascore
    • 80 Critic Score
    It’s comprised largely of several years of demos and “field recordings” and collected samples and experiments and improvisations. Perhaps that’s why it feels so novel at the precipice of a new decade; after 10(+) years of failed political experiments and improvisations, here’s a new songbook stripped of the arrogance and pretense of capitalist evangelism.
    • 83 Metascore
    • 70 Critic Score
    As a propulsive work, fueled by immediacy and intensity, Devour rejects the attempt to escape the body through the gear-consumed noise fetishist.
    • 74 Metascore
    • 70 Critic Score
    These songs won’t necessarily get stuck in your head, but the swerving asymmetry to C’est ça has you clinging to these hooks like handles on a speeding train.
    • 81 Metascore
    • 80 Critic Score
    Guitarist Cassie Ramone and bassist Katy Goodman haven’t tweaked much of their fast-paced and fuzz-caked formula this time around, but they’ve certainly refined the hell out of it. Never has the band sounded so imposing in a studio setting, reining their once-uncontainable feedback into a beefy wall of sound.
    • 85 Metascore
    • 80 Critic Score
    All My Heroes Are Cornballs serves as an electronic manifesto for his fans, guerilla warfare of the auditory kind. Umberto Eco would be proud.
    • 86 Metascore
    • 90 Critic Score
    In House of Sugar, Alex Giannascoli relinquishes the ownership in authorship, providing a venue for those voices that regale him to decompress, elongate, saunter. It is roomy in House of Sugar, where possession recedes into usufruct.
    • 80 Metascore
    • 60 Critic Score
    The Center Won’t Hold is what most respected musicologists would term a “good album with some great songs.”
    • 68 Metascore
    • 50 Critic Score
    Days of the Bagnold Summer plays like a b-sides compilation with a few cuts worth revisiting. Like the Storytelling OST, this one’s strictly for the heads.
    • 82 Metascore
    • 80 Critic Score
    There’s little apparent by way of concept, lyrical wit, and aesthetic quirk — qualities that illuminate the work of many of Duterte’s colleagues — but ambience, style, and ingenuity are well at work, making the album a vibe-y classic worth hanging onto.
    • 78 Metascore
    • 70 Critic Score
    Overall, Venus in Leo deviates minimally, fearful of letting light shine in, but the moods it creates shimmer with a gorgeous, melancholic atmosphere.
    • 78 Metascore
    • 60 Critic Score
    Equivalents is similar to a lot of the post-Coast/Range/Arc material, but decidedly reduced. The faint stuttering high organ sounds that pepper the opener feel curiously threadbare, with none of that contented percussive effervescence swimming up to give it any harmonic sweep.
    • 74 Metascore
    • 70 Critic Score
    As dub creates stripped canvases to then be used to host further expressions, so do these versions. They encourage engagement and further remixing by projecting the past and present into an unknown future.
    • 80 Metascore
    • 70 Critic Score
    The Flower and the Vessel is etymological in the magical realist sense. It traces language as a memory.
    • 88 Metascore
    • 100 Critic Score
    Surprisingly, it’s far more tuneful than her previous release, ALL BITCHES DIE, and yet arguably even less listenable. ... Her voice is an astonishing instrument, moving from operatic fullness to hyperventilating shredded shrieks, but always foregrounding intelligibility.
    • 85 Metascore
    • 80 Critic Score
    This is music for that, a form of attention, a voice answering a voice.
    • 88 Metascore
    • 80 Critic Score
    Bandana continues a conversation not only between eras and between styles, but also between Freddie Gibbs and Madlib, both of whom continue to carve a path wholly their own — with little regard for what lays outside of it.
    • 79 Metascore
    • 60 Critic Score
    Cantu-Ledesma’s ensemble (that’s 11 in total, including greats like Mary Lattimore, JAB, and Roger Tellier Craig) achieve an elegant cascade here that’s more stoicism than stupor and more calm than stagnancy.
    • 79 Metascore
    • 80 Critic Score
    With Sarah Davachi’s baroque venture on Pale Bloom into the sensuous folds of light blooming into light, one can hear unfolding this always light and lightness.
    • 82 Metascore
    • 80 Critic Score
    black midi aim to dazzle and perform, and with Schlagenheim, their mammoth ideations never cease to thrill, the product of a boundless creative spirit and unwavering techni
    • 81 Metascore
    • 90 Critic Score
    Rap is an extrovert’s game, but the dynamism that Megan possesses is nearly unmatched. Her verses are absolutely electrifying, packing the heat she sponged up from her favorites like UGK, Project Pat, and Trina. Sprinkle a little Memphis here, some Miami bass there, and a bit of Houston swagger, and it’s a chemistry experiment gone horribly right.
    • 70 Metascore
    • 70 Critic Score
    YG’s songs about women are just clumsy from a basic storytelling standpoint, rehashing the same clichés that you’d find on a Hotep Facebook group. It stunts the flow of 4REAL 4REAL. ... But while he oftentimes plays the role of hyper-masculine rapper, he also defines his anxiety in deeply traumatic and thorough ways. He has a knack for boisterous exuberance, stressing the finer things while being relatable to regular people on every block in every town.
    • 79 Metascore
    • 70 Critic Score
    Dedicated isn’t a perfect album--it’s overlong and occasionally concedes too much to chart tastes to be interesting. But by the time Jepsen takes a bow following bonus track “Party For One,” you’re reminded once again of her generosity, of all the space she’s cleared for strength and weakness, for personal epiphanies and communal release.
    • 80 Metascore
    • 80 Critic Score
    His arrangements stay wondrous as usual, carrying a gravitas that hasn’t been present in his recent creative (see: non-musical) work.