Beats Per Minute's Scores

  • Music
Select another publication »
For 1,927 reviews, this publication has graded:
  • 56% higher than the average critic
  • 5% same as the average critic
  • 39% lower than the average critic
On average, this publication grades 2.3 points higher than other critics. (0-100 point scale)
Average Music review score: 75
Highest review score: 100 Achtung Baby [Super Deluxe]
Lowest review score: 18 If Not Now, When?
Score distribution:
  1. Positive: 1,769 out of 1927
  2. Mixed: 139 out of 1927
  3. Negative: 19 out of 1927
1927 music reviews
view
per page
    • 77 Metascore
    • 55 Critic Score
    Sweet Justice
    Based loosely around a theme of karma and betrayal, it’s possible that the attempt to tie everything together lyrically came at expense elsewhere. The sequencing doesn’t help: following the Lykke Li-ish opener “Love And Other Drugs” and nuclear trap of “WUACV” (which stands for “woke up and chose violence”) comes a Barbie pink, seven-song sampler of other peoples’ sounds. We don’t get to see Maidza again until the three bangers crammed into the back half, which is very late.
    • 77 Metascore
    • 80 Critic Score
    Noble And Godlike In Ruin
    Overall, Noble and Godlike in Ruin is a wonder.
    • 77 Metascore
    • 70 Critic Score
    Take Care, Take Care, Take Care
    This is obviously a band that, on some level, is trying to switch things up. But for next time, instead of testing the water, Explosions need to take the plunge.
    • 77 Metascore
    • 77 Critic Score
    Reign of Terror
    Mark Reign of Terror down as a fairly successful, but ultimately transitional work.
    • 77 Metascore
    • 75 Critic Score
    Deerhoof Vs. Evil
    Deerhoof vs. Evil is predictably unpredictable and a fun little experiment from a band seemingly incapable of recording a bad album, but it's hard to imagine returning to this years from now as often as their better work.
    • 77 Metascore
    • 75 Critic Score
    Only You Left
    This time it feels more polished and detail-oriented than before.
    • 77 Metascore
    • 82 Critic Score
    Held
    This kind of high-emotion, omni-genre electronic music is becoming the measure of artists working without geographical or scene ties and Held is one of the best examples
    • 77 Metascore
    • 79 Critic Score
    You Are All I See
    Both fluid and ornate, this is a densely produced, subtly assured introduction to an artist who has the tools to grow into something more.
    • 77 Metascore
    • 80 Critic Score
    Repave
    The limits of Vernon’s imagination and drive have yet to be truly tested, and based on the size of the sounds that he’s summoning here, the ceiling isn’t even in his sights yet.
    • 77 Metascore
    • 65 Critic Score
    Love This Giant
    Clark and Byrne are never fully on the same page. Instead they ricochet of each other, flying off on miniaturized tangents that never stray far from home.
    • 77 Metascore
    • 74 Critic Score
    The King Is Dead
    The King is Dead is a few layers of vocal harmony away from being a Fleet Foxes record, which is fine, but the Decemberists are at their best when they sound like themselves.
    • 77 Metascore
    • 80 Critic Score
    Czarface
    A shining example of what hip-hop should always strive to be, at least to a devoted segment of rap nationalists untroubled by the anachronism of rejecting the clean synth lines of this century’s rap in favor of its dusty aesthetics of the early to mid ‘90s.
    • 77 Metascore
    • 90 Critic Score
    All Eternals Deck
    All Eternals Deck is as obvious in its quality as Darnielle is obvious in his earnestness.
    • 77 Metascore
    • 69 Critic Score
    Queens of the Summer Hotel
    It’s a surprising record, and another good example of what makes Mann such an indispensable songwriter, but it’s hard for most of these songs to stand alone – we’re left wondering what’s really going on between these melancholy ruminations.
    • 77 Metascore
    • 75 Critic Score
    Quantum Baby
    New fans get a wonderful introduction to a fascinating discography, and existing fans get a project that will leave them both pleased and eagerly awaiting the next move of a star that can seemingly do it all.
    • 77 Metascore
    • 79 Critic Score
    Show Me How You Disappear
    Show Me How You Disappear may not hit the highs of her previous work as far as aesthetically pleasing noise, but it is a clear step-up for Medford’s songwriting talents. This may not suit everyone’s fancy, but for Medford it seems she’s finally found her footing.
    • 77 Metascore
    • 77 Critic Score
    Plumb
    Quite simply, Plumb is how pop music should sound.
    • 77 Metascore
    • 73 Critic Score
    Rhine Gold
    Brilliantly sequenced and realised though it is, the album only just manages to keep the attention for its 54 minutes, meaning first-time listeners could be put off by the sparse arrangements and slow pace.
    • 77 Metascore
    • 79 Critic Score
    Two Saviors
    Two Saviors is quiet and understated, yet thoroughly enjoyable despite rarely moving out of second gear. It doesn’t need to.
    • 77 Metascore
    • 80 Critic Score
    The Year of Hibernation
    While The Year of Hibernation doesn't rocket into the stratosphere so much, it's still an exemplary debut.
    • 77 Metascore
    • 69 Critic Score
    Kiss Each Other Clean
    Mostly, the listener will leave Kiss Each Other Clean craving something lyrically to hold onto, to become affected beyond the immediate emotional stirs that the pure prettiness of songs like Godless Brother In Love.
    • 77 Metascore
    • 73 Critic Score
    If I Could Make It Go Quiet
    if i could make it go quiet does a pretty great job of playing to Ulven’s strengths while also branching out. Her newer territory might take a moment to adjust to, and may not always entirely suit her, but so long as she keeps singing about the experiences and feelings that are her own, she will remain captivating and exciting.
    • 77 Metascore
    • 85 Critic Score
    Hummingbird
    With patience, Hummingbird's panorama comes into full view, and it is one full of arrestingly arranged set pieces and an impressive sense of economy.
    • 77 Metascore
    • 73 Critic Score
    Shadow Offering
    Occasionally, the band goes for the jugular but winds up succumbing to melodrama instead. Standell-Preston, Austin Tufts, and Taylor Smith are still fantastic musicians, and can be really strong songwriters with weird and interesting ideas, but perhaps they would fare better if they boiled it down to the essentials next time, bask in their specific brand of minimalist rock, and shake off the excess.
    • 77 Metascore
    • 74 Critic Score
    Oh Holy Molar
    Oh Holy Molar isn't quite poetry in motion, but not all poetry needs to be in such a state to be enjoyed.
    • 77 Metascore
    • 70 Critic Score
    Cantus Descant
    Overall, while the album certainly has some parts that stunningly wash over you, it has many others that simply wash away.
    • 77 Metascore
    • 80 Critic Score
    Cheater
    Cheater finds Pom Poko stretching and redefining their own unique blend of mangled aesthetics and creating a ruptured post-punk-pop world that’ll leave you staggered and anxious for just one more song.
    • 77 Metascore
    • 88 Critic Score
    Days
    This is a great pop-rock album because it doesn't feel the need to be anything else.
    • 77 Metascore
    • 77 Critic Score
    Release
    Release definitely sees Pangaea staying ahead of the game, voyaging without hesitation into unchartered territories while keeping a foot in familiar UK bass strains.
    • 77 Metascore
    • 81 Critic Score
    Breach
    While the warm emotionality and elegant melodicism of BREACH should earn her legions of fans, it’s the little snippets of hard-to-admit truth that are going to come to mean the most to people. It’s these moments that set her apart, and are as sure a sign as any that Fenne Lily is going to grow into an even more exciting and important artist in the years to come.
Page: