AllMusic's Scores

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For 18,280 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: 15,329 out of 18280
  2. Mixed: 2,925 out of 18280
  3. Negative: 26 out of 18280
18280 music reviews
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    • 75 Metascore
    • 90 Critic Score
    The Invisible Man
    This time out, Eitzel has built his arrangements around spare keyboard lines, atmospheric electronic samples, and percussion loops that blend with his voice and acoustic guitar to create an effect that suggest a more spare, organic version of Portishead, or a Jon Brion production that's stuck in a blue funk. But the new surroundings suit the songs quite well...
    • 61 Metascore
    • 60 Critic Score
    People Are Expensive
    They've managed to ignore their ill fortune and suffer through the hecklers, and have -- in the best possible way -- given listeners a 54-minute soundtrack for the paper bag scene in American Beauty.
    • 63 Metascore
    • 50 Critic Score
    Beautiful
    The only drawback to Beautiful is that it's often too reminiscent of Stereolab, the pop art pastiche of Pizzicato Five, and Tanaka's own 1999 release, Luxury.
    • 61 Metascore
    • 50 Critic Score
    I Believe
    While some listeners will welcome this growth and expansion of sound, longtime fans will doubtless lament the lack of pure intimacy and calm melancholy that enveloped Spain’s first and second albums.
    • 87 Metascore
    • 90 Critic Score
    Ágætis Byrjun
    At its best, the album seems to accomplish everything lagging post-shoegazers like Spiritualized or Chapterhouse once promised. However, at its worst, the album sometimes slides into an almost overkill of sonic structures
    • 66 Metascore
    • 60 Critic Score
    Open
    The whole gang sounds as good as ever.
    • 56 Metascore
    • 80 Critic Score
    Bridge
    This cuts back significantly on winding jams, upping the ante with tight songs and performances, a clean muscular production, and a lack of vocal histrionics from Popper
    • 55 Metascore
    • 50 Critic Score
    Break The Cycle
    Cycle is ultimately no more than 50 minutes of standard-issue desolation, but the softness of many of the tracks gives it compassion, something most of Staind's peers have no time for.
    • 65 Metascore
    • 80 Critic Score
    Black Market Music
    The album's consistency easily outmatches even the highest watermarks of either predecessor.
    • 81 Metascore
    • 90 Critic Score
    Flow
    Flow demonstrates that industrial music remains potent and vital in the early 2000s, and that one of its greatest pioneers is still one of its greatest innovators.
    • 63 Metascore
    • 50 Critic Score
    Survivor
    As contrived and calculated as a Mariah Carey record, only without the joy.
    • 61 Metascore
    • 60 Critic Score
    Mechanical Wonder
    The problem is that the songwriting has gotten a little mannered, a little undistinguished, and the performances, while sturdy, tend to be slightly flat.
    • 82 Metascore
    • 90 Critic Score
    Dilate
    Dilate proves that the members of Bardo Pond keep finding ways to reinvent their sound, surpassing themselves each time they do.
    • 84 Metascore
    • 90 Critic Score
    Coquelicot Asleep In The Poppies
    While there are come similarities to their previous efforts Bedside Drama and The Gay Parade, Coquelicot is more ambitious in its concept, arrangements, lyrics, and even artwork.
    • 55 Metascore
    • 50 Critic Score
    Sad Sappy Sucker
    The thick textures, crazy drawl vocals, and grand flair of later Modest Mouse albums such as The Lonesome Crowded West and The Moon & Antarctica are not fully realized on Sad Sappy Sucker.
    • 73 Metascore
    • 80 Critic Score
    All For You
    This is her sexiest-sounding record, thanks to Jam and Lewis' silky groove and her breathy delivery, two things that make the record palatable throughout too many spoken interludes and songs that just don't quite click.
    • 57 Metascore
    • 60 Critic Score
    Know Your Enemy
    When it works, this can be pretty invigorating, but when it doesn't, it's utterly maddening.
    • 68 Metascore
    • 60 Critic Score
    Electric Pocket Radio
    It might come off as too much of a mish-mash if not for the tongue-in-cheek glee with which Leroy pulls it off.
    • 87 Metascore
    • 90 Critic Score
    Leaves Turn Inside You
    A unique, epic effort from one of the most inventive and dynamic rock bands in recent memory.
    • 71 Metascore
    • 80 Critic Score
    Take Back The Universe (And Give Me Yesterday)
    Bucks expectations and actually makes good on the indie rock promise of the band's full-length debut, 1998's overhyped albeit underwhelming I Become Small and Go.
    • 71 Metascore
    • 60 Critic Score
    Sincere
    With the gleaming, self-aware production as well as both Danny Vicious' embarrassing rapping and Elisabeth Troy's overly soulful vocals, it's clear that Cole wants respect at every turn. Despite the consequences.
    • 79 Metascore
    • 80 Critic Score
    lemonjelly.ky
    At best, a rich man's Air. At worst, tedious, superfluous, hippy-dippy, overly ironic trash. Lemon Jelly .KY can be both, of course -- often at the same time...
    • 84 Metascore
    • 80 Critic Score
    Old Ramon
    The album's long-delayed release only makes its joyous sound that much more refreshing; its inviting mix of gentle and fuzzy guitars and Kozelek's empathetic vocals make it the Painters' most hopeful, accessible work.
    • 79 Metascore
    • 90 Critic Score
    No More Shall We Part
    Simply the finest effort yet from the Bad Seeds; one which leaves the listener in awe, full of complex emotions and pondering the fact that they've just been in the presence of great art...
    • 75 Metascore
    • 80 Critic Score
    The Negatives
    Cole, at age 40, seems comfortable with himself and his career -- quirks, blemishes, and all -- and one would be hard pressed to find any of his U.K. '80s contemporaries making such a strong, winningly melodic album... if they're still making albums at all.
    • 72 Metascore
    • 80 Critic Score
    Black Rebel Motorcycle Club
    This self-produced major-label debut boldly plunders a reverb-and-white noise course previously trampled underfoot by long-gone British bands of the late '80s and early '90s (the Jesus & Mary Chain, the Verve, Ride, the Stone Roses, etc.).
    • 83 Metascore
    • 80 Critic Score
    Isolation Drills
    Isolation Drills sounds like the real rock album GBV have always wanted to make...
    • 60 Metascore
    • 50 Critic Score
    Drops Of Jupiter
    Train is a classic rock wannabe band in the mold of Counting Crows.
    • 76 Metascore
    • 80 Critic Score
    Whole New You
    Whole New You may not contain a song that will spark sales and awards the way "Sunny Came Home" did, but anyone who, like the artist herself, has come to the safe harbor of family life (even with its many challenges) after a long, uncertain voyage through personal relationships and life experiences will appreciate Colvin's ruminations on the subject.
    • 51 Metascore
    • 50 Critic Score
    Until The End Of Time
    Still, no matter how many of these admittedly incredible rhymes end up surfacing over time thanks to his mother's part-earnest, part-exploitative efforts, the bottom line is that 2Pac never finished these songs -- there are a few fully developed songs here worth marveling over, just not nearly enough to justify the album's double-disc length
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