Uncut's Scores

  • Music
For 9,795 reviews, this publication has graded:
  • 50% higher than the average critic
  • 4% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 1.5 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 Roxy: Tonight's the Night Live
Lowest review score: 10 Let Me Introduce My Friends
Score distribution:
9795 music reviews
    • 92 Metascore
    • 80 Critic Score
    This is second-tier Sabbath, arriving at the waning of their imperial phase. But that’s still a formidable prospect. ... Also included is a mostly unheard North American show from 1975 that proves the band were still bringing the goods live, especially on a surging “Children Of The Grave”. [Jul 2021, p.41]
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    • 80 Metascore
    • 70 Critic Score
    A collection of great intimacy and tenderness, inspired in part by the loss of her father. This is rich, melodic folk. [Jul 2021, p.27]
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    • 67 Metascore
    • 40 Critic Score
    It's a long, convoluted, tiresome listen. [Jul 2021, p.25]
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    • 78 Metascore
    • 70 Critic Score
    It’s a big, bolshy set, slightly dated by its industrial-rock dynamics, but there’s no denying the Depeche Mode-ish “Godhead” or (especially) the giallo-ish critique that is “A Woman Destroyed”. [Jul 2021, p.27]
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    • 95 Metascore
    • 90 Critic Score
    The bulk of the material comes from Crosby, Nash and especially Stills. These include early versions of several tracks that would soon appear on the trio’s own solo albums. ... There are more Stills rarities – “Same Old Song”, “Right On Rock’N’Roll” – and the musician accounts for seven of the eleven songs on the outtakes CD, making this something of a Stills mother lode. Added to these are several completed CSN tracks, complete with the harmonies that brought them together in the first place.
    • 90 Metascore
    • 100 Critic Score
    Indispensable, but that’s no surprise.
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    • 77 Metascore
    • 70 Critic Score
    Clearly, the source material is strong, but there’s also an emotional unity of purpose that works in the covers’ favour. [Jun 2021, p.33]
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    • 79 Metascore
    • 70 Critic Score
    On Hardware and elsewhere in his solo career, there remains little doubt about what he does best. [Jul 2021, p.32]
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    • 75 Metascore
    • 60 Critic Score
    Often feels more afterthought than addition. On form, however, few write or sing human frailty with Neil Finn’s poise. [Jul 2021, p.25]
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    • 75 Metascore
    • 70 Critic Score
    Inventively produced by Jacknife Lee, All The Colours Of You is a winning synthesis of James’ anthemic tendencies and their more instinctive weirdness. [Jul 2021, p.27]
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    • 88 Metascore
    • 80 Critic Score
    It’s an album that’s constantly shifting, almost restless at times, yet it also remains poised and coherent. [Jul 2021, p.27]
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    • 76 Metascore
    • 70 Critic Score
    Songs like “Spanish Steps” and the title track recall the lo-fi sound of her critically lauded ’90s albums, while “Ba Ba Ba” and “Good Side” embrace the polish of her critically denounced 2000s albums. [Jul 2021, p.33]
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    • 81 Metascore
    • 80 Critic Score
    More often wispy and whispery in her earlier work, her voice assumes new strength and vividness here as Trappes dives deep into torch-song mode for “Red Yellow” and multitracks herself into a celestial choir for “Blood Moon”. [Jul 2021, p.34]
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    • 88 Metascore
    • 70 Critic Score
    These are smart, confident and mostly fine-boned songs, though epic closer “Posing For Cars” leans on a lachrymose, slow-mo, alt.rock guitar passage. [Jul 2021, p.27]
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    • 76 Metascore
    • 70 Critic Score
    Against hard-edged rhythms – Danielle Haim’s clattering drumming enlivens “These Kids We Knew” – and Solomon’s wordless reveries, Rostam sings in a creamy tenor tailormade for sharing the intimate feelings of his lyrics. [Jul 2021, p.33]
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    • 80 Metascore
    • 70 Critic Score
    Familiar, but still freaky. [Jul 2021, p.34]
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    • 77 Metascore
    • 80 Critic Score
    Divided into meditation, lamentation, revelation, celebration, incantation, it is by turns curious, brittle, exquisite, and surely among the most accomplished and beautiful records of Stevens’ career. [Jul 2021, p.34]
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    • 77 Metascore
    • 60 Critic Score
    The songs are often guilty of bloated bombast, but Numan retains an impressive command of cinematic melodrama and richly layered sonic detail. [Jul 2021, p.33]
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    • 84 Metascore
    • 80 Critic Score
    Marten’s stripped-back early work drew comparisons to Lucy Rose and Nick Drake, and while her voice is as gentle as ever, a wider sonic palette adds both brightness and depth. [Jul 2021, p.31]
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    • 79 Metascore
    • 80 Critic Score
    Kurt Wagner’s appetite for change hasn’t dwindled, and Lambchop’s succinct 16th is, thanks to his MIDI piano experiments, particularly tempting. [Jul 2021, p.30]
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    • 73 Metascore
    • 70 Critic Score
    From the hypnotic opener “Kasai Munene” to the upbeat closer “Allstars All Around” with its spiralling soukous guitars, this is celebratory music-making at its most joyously instinctual. [Jul 2021, p.27]
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    • 82 Metascore
    • 80 Critic Score
    The people in these songs are losing their listeners, memory or love, suffering partial erasures. And yet this melodic music holds them close with familial warmth. [Jul 2021, p.27]
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    • 73 Metascore
    • 60 Critic Score
    Fellow Pretender James Walbourne provides deft guitar and keyboard accompaniment, but it’s the personality and allure of a distinctive voice that keeps you in the parlour. [Jul 2021, p.27]
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    • 77 Metascore
    • 70 Critic Score
    “The Shame Of Love”, “Splinter” and “Mouthful Of Blood” successfully concealing Black Flag-worthy spleen behind a comforting veneer of distorted guitars, sunny Mellotron and Carpenters-compatible melodies. [Jul 2021, p.27]
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    • 78 Metascore
    • 70 Critic Score
    It's a warm and slightly rickety set, with folk-ish elements and faint echoes of Sentridoh. [Jul 2021, p.23]
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    • 79 Metascore
    • 80 Critic Score
    Here she uses soft synths to emulate an organ, lute and pipes, which combine on the likes of “Vanity” and “Qasmuna (Dreaming)” to cast an alluring spell, evoking the likes of vintage Boards Of Canada and Catarina Barbieri’s superb Ecstatic Computation. [Jul 2021, p.21]
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    • 84 Metascore
    • 80 Critic Score
    At 68, Hiatt is producing some of the best work of his career, mapping his inner life with an eloquence that most can only aspire to. [Jun 2021, p.24]
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    • 70 Metascore
    • 50 Critic Score
    When it’s good, she nails squiggly G-funk (“Boom Bap Is My Homegirl”, “Action Groove”) and late-night power-cruising (“Ghostride 21716”). But with no real focus, the whole thing tends to drag. [Jul 2021,p.31]
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    • 85 Metascore
    • 90 Critic Score
    72 minutes of creeping contemplation and subdued drama. [Jul 2021, p.31]
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    • 77 Metascore
    • 70 Critic Score
    Not all essential but a generally rich and respectable package. [Jul 2021, p.43]
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