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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    • 51 Metascore
    • 40 Critic Score
    Tical 0: The Prequel
    Give or take a couple hot tracks, this release is not likely to play a significant role in his legacy.
    • 60 Metascore
    • 60 Critic Score
    Patience
    There's an excessive attention to detail to each song, and that tunnel vision means each song runs about a minute or two longer than it should.... That's unfortunate because the core of the album is quite good.
    • 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.
    • 71 Metascore
    • 90 Critic Score
    Split The Difference
    For those who have been waiting for Gomez to come up with something that truly rivals their amazing debut Bring It On, wait no longer. This one is great.
    • 72 Metascore
    • 70 Critic Score
    Fuckin A
    Owing to its themes, Fuckin A is a shade or two less exuberant than More Parts Per Million, but it's no less passionate or energetic.
    • 74 Metascore
    • 90 Critic Score
    Kesto (234.48:4)
    Everything here is in its right place, making Kesto (234.48:4) perhaps the only Pan Sonic album you'd ever need to own, for every style of music the group has ever recorded is presented at length and it's all produced as masterfully as ever.
    • 91 Metascore
    • 90 Critic Score
    A Grand Don't Come For Free
    Confronting doubts about his seriousness and squashing whispers about his talent, Skinner has made a sophomore record that expands on what distinguishes the Streets from any other act in music.
    • 72 Metascore
    • 80 Critic Score
    You Are The Quarry
    It's not so much a return to form as it is a simple return, Morrissey picking up where he left off with Maladjusted, improving on that likeable album with a stronger set of songs and more muscular music.
    • 78 Metascore
    • 60 Critic Score
    Das Not Compute
    What it lacks in discernible hooks, Das Not Compute accounts for with tautness and subcutaneous bad attitude.
    • 79 Metascore
    • 70 Critic Score
    i
    Merritt's kitchen produces pop confections that can rot teeth, but the bitter aftertaste owes more to Randy Newman than it does Belle & Sebastian.
    • 66 Metascore
    • 60 Critic Score
    Don't Climb On And Take The Holy Water
    Compared to Chris Martin's solo work as Ampbuzz, Herzog's efforts can certainly be more forceful and less meditative, though often only by a matter of degrees.
    • 82 Metascore
    • 80 Critic Score
    The Ride
    Walks the narrow path between playful adventurousness and tuneful accessibility with ragged elegance and swaggering confidence.
    • 73 Metascore
    • 70 Critic Score
    Trial Of The Century
    Like a less electronic version of the Postal Service, on The Trial of the Century the band invokes nostalgia for that decade but puts it in a different context.
    • 66 Metascore
    • 60 Critic Score
    Fulfilled/Complete
    The tracks with singing find Broken Spindles moving in one direction, and the purely instrumental pieces find them moving in another, and sometimes the contrast between the two styles just ends up as a clash of sounds.
    • 81 Metascore
    • 90 Critic Score
    Penance Soiree
    As serious as things get on Penance Soiree (and the choppy "Spit On" gets pretty serious), there's the happily nagging notion that Icarus Line just want to entertain, and that they're damn good at it.
    • 77 Metascore
    • 80 Critic Score
    C'Mon Miracle
    C'Mon Miracle isn't as showy as some of her previous outings, but it does show that Mirah's music works on both a large and small scale.
    • 76 Metascore
    • 90 Critic Score
    Tres Cosas
    Far more than someone like Beth Orton -- who seems positively conventional in comparison -- she's creating a new paradigm for singer/songwriters, with electronics an integral part of her sound, rather than an afterthought.
    • 88 Metascore
    • 80 Critic Score
    Rejoicing In The Hands
    Banhart's music is utterly unselfconscious and poetic.
    • 84 Metascore
    • 90 Critic Score
    ONoffON
    Though Onoffon doesn't quite top Burma's 1982 masterpiece Vs., it manages to sound like the more-than-worthy follow-up they could have cut a couple years later ... only with two decades of experience and musical detours informing its nooks and crannies.
    • 71 Metascore
    • 60 Critic Score
    Summer Make Good
    Its quietness and moodiness make Summer Make Good Múm's most demanding album, but also, fortunately, a rewarding one too.
    • 78 Metascore
    • 90 Critic Score
    Absent Friends
    It ranks high among his finest albums.
    • 74 Metascore
    • 90 Critic Score
    Heroes To Zeros
    Yet another triumph for the Beta Band.
    • 74 Metascore
    • 80 Critic Score
    trampin'
    Not surprisingly, Trampin' is a largely political album, but it is far from a didactic one.
    • 83 Metascore
    • 80 Critic Score
    Escondida
    A listening experience that is singular, startling, and soulful.
    • 71 Metascore
    • 80 Critic Score
    Between Here And Gone
    Between Here and Gone quietly demands the listener's attention and dives deeply into a labyrinth of emotions before emerging as a validating, affirmative, and instructive experience; it is an album not only to experience, but to hold on to.
    • 58 Metascore
    • 60 Critic Score
    D12 World
    The album feels more slapped together than their debut.
    • 67 Metascore
    • 90 Critic Score
    The Girl In The Other Room
    This bold recording is a jazz record made with care, creativity, and a wonderfully intimate aesthetic fueling its 12 songs.
    • 83 Metascore
    • 90 Critic Score
    A Boot And A Shoe
    What sounded austere on Fan Dance sounds simple on A Boot and a Shoe, and it's the differing inferences of those two adjectives that makes all the difference.
    • 97 Metascore
    • 90 Critic Score
    Van Lear Rose
    The brilliance of Van Lear Rose is not just how the two approaches complement each other, but how the record captures the essence of Loretta Lynn's music even as it has flourishes that are distinctly Jack.
    • 72 Metascore
    • 80 Critic Score
    Musicology
    Make no mistake, this isn't the second coming of Purple Rain or Sign 'o' the Times or even Parade -- in other words, it's not a masterpiece, more like a more confident and consistent Diamonds and Pearls without the hip-hop fixation -- but it's a strong album, one that impresses on the first listen and gets better with repeated plays.
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