AllMusic's Scores

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For 18,295 reviews, this publication has graded:
  • 63% higher than the average critic
  • 5% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 1.5 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 The Marshall Mathers LP
Lowest review score: 20 Graffiti
Score distribution:
  1. Positive: 15,344 out of 18295
  2. Mixed: 2,925 out of 18295
  3. Negative: 26 out of 18295
18295 music reviews
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    • 80 Metascore
    • 80 Critic Score
    I'll Be Lightning
    The 14 songs here seem stronger upon each listen, with the songs soon seeming indelible.
    • 80 Metascore
    • 80 Critic Score
    Fading Lines
    She proves adept at so many styles within her chosen niche on Fading Lines that her next album could go in any of four or five directions and sound very good.
    • 80 Metascore
    • 70 Critic Score
    Traumazine
    Despite its occasional unevenness, the album is exciting in both its moments of audience-tested hitmaking and when Megan cracks the veneer of her invincible persona to share feelings that are difficult, messy, and real.
    • 80 Metascore
    • 70 Critic Score
    Yes Lawd!
    If not quite as substantive as Malibu, this is one of those albums that can be played continuously without risk of depreciation.
    • 80 Metascore
    • 60 Critic Score
    Leave Home
    The rest of the record is filled with an invigorating amount of passion, noise, and power that impressively takes their roots and influences to a new place. Not bad for a debut album; it bodes very well for further endeavors.
    • 80 Metascore
    • 70 Critic Score
    The Center Won't Hold
    It's an album that forces the listener to abandon nostalgia and accept that things are different now. It's not a comforting notion, and it's one that may sit awkwardly for listeners who prize raw guitars over refined aesthetic, but The Center Won't Hold demonstrates what a fearless band Sleater-Kinney is.
    • 80 Metascore
    • 80 Critic Score
    Songs In The Key Of Yikes
    Songs in the Key of Yikes is proof that Superchunk hasn't lost a step and remains a one-of-a-kind band.
    • 80 Metascore
    • 80 Critic Score
    Valentine
    Courtney Marie Andrews is a first-rate talent, and Valentine shows us she can move in a number of different directions and still deliver something remarkable.
    • 80 Metascore
    • 80 Critic Score
    Heaven
    Heaven comes across as a more or less triumphant culmination of the Walkmen's first decade, and the fact that happiness fits the band better than anyone could have expected is just a welcome bonus.
    • 80 Metascore
    • 80 Critic Score
    Album
    Girls' 2009 album (simply titled Album) actually proved itself worthy of the hype upon its release.
    • 80 Metascore
    • 90 Critic Score
    Exile in the Outer Ring
    On Exile in the Outer Ring, Anderson calls on listeners to maintain their humanity in powerful, unnerving ways that make it one of her finest achievements.
    • 80 Metascore
    • 70 Critic Score
    The King of Limbs
    Masters of mood that they are, Radiohead digitally weave stuttering, glitchy loops of drums and guitars with real instruments, Thom Yorke's mournful moan and keening falsetto acting as a binding agent, creating an alluringly dour atmosphere.
    • 80 Metascore
    • 70 Critic Score
    Run Fast
    As inspirational as Bikini Kill's life-affirming blasts of punk could be, they were never as accessible and simply fun as the '80s synth pop modes of Run Fast, which somehow manage to be equal parts poetic, provocative, moving and enjoyable.
    • 80 Metascore
    • 80 Critic Score
    Arabia Mountain
    The timing for a change was right, too, as their 2009 record 200 Million Thousand wasn't one of their best, it was OK but seemed a little forced and uninspired. Arabia Mountain is the absolute opposite and could be their best album yet.
    • 80 Metascore
    • 80 Critic Score
    Playing Robots Into Heaven
    Recapturing the creativity that made his work stand out in the U.K. club scene around the turn of the 2010s, Playing Robots into Heaven is some of the most honest work of Blake's career.
    • 80 Metascore
    • 70 Critic Score
    Live in Brighton 1975
    There's a fair number of meandering moments, but the parts that actually go places are something to behold.
    • 80 Metascore
    • 80 Critic Score
    The Town That Cursed Your Name
    The Town That Cursed Your Name is yet another step forward in the rapid and ongoing evolution of the Reds, Pinks & Purples. Donaldson's songwriting is brilliant and intelligent as always, and its wry charm shines through no matter what new direction he takes with his tunes.
    • 80 Metascore
    • 70 Critic Score
    Romantiq
    Romantiq's compositions manage to be soothing and reflective even as they restlessly pursue unknown sounds and feelings.
    • 80 Metascore
    • 80 Critic Score
    Now Here Is Nowhere
    What makes the record good is the level of dedication the bandmembers throw into their work, the lovely walls of sound they build on each track, and most of all the sense of untrammeled joy they infuse their music with.
    • 80 Metascore
    • 80 Critic Score
    The Craft
    While the first half of the album may sound like a watered-down Blazing Arrow, everything picks up when the duo unveil two of the grooviest message tracks since Stevie Wonder's "Livin' for the City" in "The Fall and Rise of Elliot Brown" and "Black Diamonds and Pearls."
    • 80 Metascore
    • 80 Critic Score
    Fabriclive 93
    Not only is it a special volume of Fabric's impressive series, it's a living piece of music that presents Daphni at its most vital.
    • 80 Metascore
    • 80 Critic Score
    The Highwomen
    The record's resonance lies in its deep emotions and sense of craft. The craft isn't incidental, either. Their shared skills as writers and singers provide the supporting evidence to Shires' conceptual thesis: if country radio doesn't want to play music this good, what's the point of radio anyway?
    • 80 Metascore
    • 60 Critic Score
    Last Days Of Wonder
    One can't help but think that just a little bit more spice might have elevated all of these beautiful ideas out of the trappings of their now painfully insular song structures.
    • 80 Metascore
    • 80 Critic Score
    Twins
    Twins is a bright moment in a nearly ceaseless evolution, and one of the most fluid and successfully ambitious in Ty Segall's catalog.
    • 80 Metascore
    • 80 Critic Score
    Rewind the Film
    The combined effect of the sometimes tortured words and the gentle, never-conflicting currents of folk, anthemic rock, cinematic instrumentals, and mannered pop create a welcome impression of a group that acknowledges that they've entered a comfortable middle age but are happy to fight against complacency however they can.
    • 80 Metascore
    • 80 Critic Score
    Apricity
    After a pair of lovingly crafted though similar-sounding albums, Apricity is a welcome venture into uncharted territory for Syd Arthur, and displays their willingness to grow and expand.
    • 80 Metascore
    • 90 Critic Score
    A Flame My Love, a Frequency
    Throughout it all, A Flame My Love, A Frequency resonates with a healing warmth that is a testament to the remarkable purity of Colleen's music, as well as to the importance of beauty and hope when life is hard.
    • 80 Metascore
    • 70 Critic Score
    Serfs Up!
    The band show significant growth here on what is easily their most accomplished effort to date.
    • 80 Metascore
    • 80 Critic Score
    Drag on Girard
    Drag on Girard isn't a minute too long or too short. It's another invigorating chapter in Purling Hiss' ongoing saga, and their scraggly guitar rock is in its finest and most exciting form for the album's entire duration.
    • 80 Metascore
    • 80 Critic Score
    The 1974 Live Recordings [Box Set]
    The later discs reflect the relative comfort Dylan and the Band performed with, leading to a more polished joint effort. That said, there's plenty of rawness here, but the chaos on the early discs is missed. The 1974 Live Recordings will only appeal to Dylan completists and historians. The music is entirely (and wonderfully) remixed.
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