AllMusic's Scores

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For 18,282 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: 15,331 out of 18282
  2. Mixed: 2,925 out of 18282
  3. Negative: 26 out of 18282
18282 music reviews
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    • 64 Metascore
    • 60 Critic Score
    Preacher's Sigh & Potion: Lost Album
    Preacher's Sigh & Potion sounds a bit jarring at first, but it makes more sense considering Dear's family background, and it does have a kind of rootsy, lived-in charm the more time one spends with it. Even if the songs don't always work, at least they feel like earnest personal expressions rather than forced, miscalculated "who is this even for?" hybrids.
    • 64 Metascore
    • 70 Critic Score
    Dross Glop
    Like many remix collections, Dross Glop doesn't flow particularly well, and it's not quite as dazzling as Gloss Drop, but it once again shows that Battles are up for anything.
    • 64 Metascore
    • 70 Critic Score
    The Saga Continues
    As a Wu-Tang album, The Saga Continues is good but not great, but it's a fine calling card for Mathematics, and makes the case that he should be given an album of his own more often.
    • 64 Metascore
    • 60 Critic Score
    Awesome As F**k
    The combination of songs, sound, and performance make this another near-perfect album from the trio. Those who have fallen under their charmingly sweet spell can only hope it doesn't take another six years for the next one.
    • 64 Metascore
    • 80 Critic Score
    City Of Refuge
    City of Refuge never succumbs to the silence that so obviously surrounds it. Even appearances (overdubbed after the initial field recordings) from Sufjan Stevens, Jana Hunter, Scott Tuma, Dawn Smithson, and Ero Gray feel unobtrusive, resulting in a strange, sad, but ultimately compelling collection of hopeless Western indie folk.
    • 64 Metascore
    • 70 Critic Score
    Hot Hot Heat
    With just the right mix of nostalgia and looking forward to what's next, Hot Hot Heat puts a neat bow on the band's career.
    • 64 Metascore
    • 50 Critic Score
    The Road, Pt. 2: Lost Highway
    Lavelle's trading on past glory and continued sifting through fallout can be wearisome, but his high level of enthusiasm can be sensed throughout.
    • 64 Metascore
    • 70 Critic Score
    Thunderheist
    The pleasure of the popcraft outweighs much of the caution in the construction, especially when the insistent hooks are delivered with such puppy-dog earnestness by Taylor Hanson.
    • 64 Metascore
    • 50 Critic Score
    History of Modern
    At its best, History of Modern is to OMD what Secrets is to the Human League: an inspired return from post-punk-turned-synth-pop greats.
    • 64 Metascore
    • 60 Critic Score
    Love After War
    The second half is dominated by ballads made for seduction (with more than a little preening). They don't offer much in the way of development from Thicke's recent past but they should get the job done.
    • 64 Metascore
    • 70 Critic Score
    Ultraista
    As a collection of songs, and particularly as a "pop" record (inspirations for the group reportedly included Rye Rye and Whigfield, which seems far-fetched at best), Ultraísta feels a bit unfulfilled, but as a work of sound and atmosphere, it's captivating, predictably excellent work.
    • 64 Metascore
    • 90 Critic Score
    The Lunar Injection Kool Aid Eclipse Conspiracy
    Fun, wild, and addictive, The Lunar Injection Kool Aid Eclipse Conspiracy builds upon 2016's already-impressive Electric Warlock and winds up being one of Zombie's best.
    • 64 Metascore
    • 80 Critic Score
    9th Ward Pickin' Parlor
    Mullins' most poignant, cohesive, and diverse album.
    • 64 Metascore
    • 60 Critic Score
    City of Vultures
    City of Vultures is a solid first offering suggesting that Dickinson Jr. is capable of stepping out of his father's shadows in the future.
    • 64 Metascore
    • 60 Critic Score
    Brain Thrust Mastery
    There are some solid album tracks that recall the more daring aspects of the debut, particularly the abstract, dark-hued cool of the opener, "Ghouls," and the catchy and energetic "Tonight." But the rest of Brain Thrust Mastery consists of pleasantly tuneful pop songs that barely register with the listener even after several repetitions.
    • 64 Metascore
    • 70 Critic Score
    Permalight
    The production, songs, and vocals are all perfectly in tune with each other, and the band has crafted a pretty impressive return to form. Permalight is still a far way from the bedroom origins of the group, but it’s also far from being a Coldplay knock-off, and anyone who’s been a fan from the start can certainly appreciate that.
    • 64 Metascore
    • 70 Critic Score
    Conditions of My Parole
    While the album can, at times, feel unfocused, that's also the point of a project like Puscifer, which allows us to take a look inside the mind of one of the most creative frontmen of the last 20 years.
    • 64 Metascore
    • 60 Critic Score
    The Believer
    The Believer may be a formula recording, but it still satisfies, for the most part, on the level of what it is: a finely crafted pop/rock album.
    • 64 Metascore
    • 70 Critic Score
    The Big Dream
    Even if his take on the blues is far from straightforward, this might be the most accessible set of songs associated with Lynch to date. In its own hypnotic way, The Big Dream honors the blues' lust for life and its lonely heart.
    • 64 Metascore
    • 60 Critic Score
    In the Cool of the Day
    The result is an affable album that soothes but rarely dazzles, and In the Cool of the Day winds up functioning better as a contemporary reading of older songs.
    • 64 Metascore
    • 60 Critic Score
    Graffiti on the Train
    Stereophonics seem loath to leave all that they know behind, so Graffiti on the Train remains distinctly earthbound for all its big aspirations.
    • 64 Metascore
    • 60 Critic Score
    WE STILL DON'T TRUST YOU
    WE STILL DON'T TRUST YOU is a nearly 90-minute sprawl divided into two parts.
    • 64 Metascore
    • 70 Critic Score
    Deadbeat
    His thoughtful pacing doles out thrilling moments worth waiting for, while the slower segments allow for the energy to build again.
    • 64 Metascore
    • 60 Critic Score
    If You're Young
    The Static Jacks retain much of the energy of punk, and a bit of the attitude, but their sound has a more polished pop tone to it.
    • 64 Metascore
    • 80 Critic Score
    Savages
    Savages is meant to be taken as both a warning and a rebel yell, and Cavalera and company connect on both levels, offering up an audio invoice for our past transgressions and a shot of adrenaline for the war ahead.
    • 64 Metascore
    • 60 Critic Score
    You Don't Know Anything
    The beefy, Steeleye Span-meets-MGMT rocker "The Sixth Wave" are spilling over with ideas, and would probably have fit right in on Terra Firma's ambitious back end, while the amiable title cut, a breezy two-chord shuffle that should please fans of the band's hook-filled debut, delivers the EP's most instantly gratifying moments of pop acumen.
    • 64 Metascore
    • 70 Critic Score
    Towards
    Ultimately, on Towards, We Were Evergreen have moved slightly left of the indie pop center and achieved something quite interesting and enjoyable.
    • 64 Metascore
    • 70 Critic Score
    Wild Animals
    Fans of the band will find enough familiar ground here, but Wild Animals shows a continued creative evolution at work.
    • 64 Metascore
    • 90 Critic Score
    Big Mess
    Ultimately, by celebrating those life experiences on Big Mess, Grouplove have crafted an ecstatic, joyful album.
    • 64 Metascore
    • 60 Critic Score
    The Boy Who Died Wolf
    Highly Suspect show potential but they're still in the throes of some serious growing pangs here.
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