Beats Per Minute's Scores

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For 1,925 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: 1,767 out of 1925
  2. Mixed: 139 out of 1925
  3. Negative: 19 out of 1925
1925 music reviews
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    • 82 Metascore
    • 79 Critic Score
    Free I.H.: This Is Not The One You've Been Waiting For [Mixtape]
    It’s not the greatest moment of Tudzin’s career – that moment is still to come. But, even at just 23 minutes, Free I.H is certainly her grandest statement to date.
    • 82 Metascore
    • 84 Critic Score
    Ultimate Success Today
    On Ultimate Success Today, Protomartyr have made essential jams for a genre that’s been passed around dozens of times over. It’s nice to know that, five albums deep, the band haven’t lost any ferocity, and that they continue to be a mouthpiece for so many feelings we all share.
    • 87 Metascore
    • 87 Critic Score
    Pain Olympics
    The cohesion of Pain Olympics is quite the miracle. Even if there are moments that diverge into unpredictable passages, there’s always a sense that Crack Cloud know where the track is heading – it’s obvious that, despite their size, they are always operating from a single artistic vision.
    • 75 Metascore
    • 80 Critic Score
    Mystery
    Mong Tong 夢東 have made something that’s rewarding in both the short and long-term, and they have the nerve to make it look easy.
    • 79 Metascore
    • 78 Critic Score
    Jump Rope Gazers
    The songs on Jump Rope Gazers aren’t as immediately addictive as what came before, but The Beths’ natural intuition for emotive and melodic writing is still intact.
    • 79 Metascore
    • 70 Critic Score
    Healing Is a Miracle
    The album remains enjoyable throughout, but too much of it feels a bit too been-there-done-that. Luckily, there are three tracks with guests, and this is where the album truly shines.
    • 84 Metascore
    • 80 Critic Score
    Transfiguration Highway
    Transfiguration Highway is their first for a label (Brooklyn’s Solitaire Recordings), and features a more filled-out lineup and higher production values, which allow his imagination to really shine. Long-time fans of Little Kid won’t be disappointed either, as the songs on Transfiguration Highway still have that intimate, homespun charm – they’re just a little more sturdy, is all.
    • 70 Metascore
    • 75 Critic Score
    Tearless
    By the end of Tearless, Amnesia Scanner’s singular vision, for all its moments that both stun and disgust, has seeped its way in. There’s no looking back.
    • 82 Metascore
    • 82 Critic Score
    Forever Blue
    With Forever Blue, she has created an album for those who like to close their curtains when the sun is out; it’s a debut of richness, depth and genuinely shattering emotional engagement – pure melancholic majesty to lose yourself in.
    • 77 Metascore
    • 44 Critic Score
    So When You Gonna...
    Everything that made their self-titled debut forgettable has been brought back and laboriously run into the ground.
    • 87 Metascore
    • 81 Critic Score
    Inlet
    Hum may very well have just released the most pertinent post-lockdown record: it has claustrophobia embedded in its DNA and hysteria woven throughout. It’s weighty and suffocating, pressing down on our shoulders and restricting our airways with nothing more than brittle bones and exhausted lungs to keep it all from collapsing – then it releases us, just in time.
    • 79 Metascore
    • 74 Critic Score
    Mordechai
    Mordechai is still very much a psychedelic vista of an album, but the difference is all with the vocals. The bassist of the group, Laura Lee Ochoa, takes command, with her long, stretched-out phrases adding massively to their overall kaleidoscopic groove. The interesting thing here is that the vocals never take a front line, instead they’re always carefully mixed to merely assist the guitar or percussion, creating a fuller sonic experience for the listener.
    • 81 Metascore
    • 81 Critic Score
    True Story of Bananagun
    The True Story of Bananagun is as exciting and addictive as debut albums come, appropriately soundtracking a much-needed hope in the future of the genre while brightening up early summer in the northern hemisphere.
    • 79 Metascore
    • 83 Critic Score
    Our Two Skins
    Her second album is an unpretentious thrill, the nature of its creation inextricably linked to its lyrical outlook, made by a woman who’s been through the wringer but has emerged from a period of turmoil daringly and undoubtedly herself.
    • 84 Metascore
    • 75 Critic Score
    What's Your Pleasure?
    What’s Your Pleasure? is Ware’s welcome return to her roots. At her best, she executes the album’s electrifying, lavish take on dance-pop better than many of her modern peers, but she isn’t able to maintain uniform excellence across all 12 tracks. Still, Ware displays her affection for disco, funk, and dance music with the utmost reverence.
    • 74 Metascore
    • 84 Critic Score
    KiCk i
    The sensory overload she tends to serve up will continue to confound many – even if this is her most accessible and celebratory record to date. Needless to say, her presentation of what she describes as “gender euphoria,” provides the perfect blueprint to a more healthy, embracing, and confident exploration of the concept and conversation of gender and identity in popular music.
    • 86 Metascore
    • 75 Critic Score
    Kitchen Sink
    Throughout this album, despite its structural flaws, Shah paints several affecting and profound images. Her words are almost always sung in her trademark jazzy, vibrato-heavy style, which adds some dramatic flair to even the more mundane moments, as do tiny instrumental touches.
    • 89 Metascore
    • 80 Critic Score
    Women in Music, Pt. III
    Women in Music Pt. III is by no means perfect, but its strengths assuredly outweigh the weaknesses. Haim feel completely in the moment here, and are working stronger than ever as a unit.
    • 81 Metascore
    • 79 Critic Score
    The Avalanche
    Mike Kinsella has made not only one of his sincerest works to date, but also one of the most brutally honest albums of the year.
    • 80 Metascore
    • 81 Critic Score
    Wicked City [EP]
    Wicked City proves that Jockstrap have no shortage of creativity, as these five tracks have more than enough ideas to fill a whole album. So, it’ll be fascinating to see how they do approach a full-length, which hopefully isn’t too far away.
    • 87 Metascore
    • 80 Critic Score
    Shall We Go on Sinning So That Grace May Increase?
    Shall We Go On Sinning So That Grace May Increase? is a wonderful record of majesty and enveloping textures that radiate a sense of collective positive energy. Daniel Drew has produced an album of exquisite delight; mature enough to know its place in the world yet filled with childlike awe at how things could be.
    • 79 Metascore
    • 70 Critic Score
    Somewhere
    There are so many acts both past and present who sound exactly like this; there are moments scattered throughout Somewhere that feel a little derivative of some 90s alternative acts. So, while Somewhere is a good start, there’s a lot more to accomplish for Gum Country before they can really set themselves apart from The Courtneys – or other bands.
    • 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.
    • 90 Metascore
    • 81 Critic Score
    Punisher
    The main difference between Stranger in the Alps and Punisher is simply maturation of her writing.
    • 88 Metascore
    • 78 Critic Score
    Homegrown
    “Separate Ways” is a sweet beginning, reminiscent of “Out On The Weekend” with a slightly more bitter détour, which immediately reminds us that Homegrown should have followed Harvest. Emmylou Harris’ haunting voice in the background of “Try” sounds simultaneously evocative and familiar — a trait resulting from her frequent collaborations with the likes of Linda Ronstadt, Gram Parsons, and Bob Dylan.
    • 76 Metascore
    • 67 Critic Score
    Out in the World
    It’s as though Jay is playfully toying around with genres without building a fully cohesive record. There are plenty of lovely moments on this LP, but without a clear structure it never truly acts as one.
    • 84 Metascore
    • 85 Critic Score
    Room for the Moon
    While her method of intermingling a vibrant array of synthesized sounds remains from previous records, there is more musical complexity, which yields a pure joyousness that comes bouncing out. She has energised her productions with greater depth, more interplay across the stereo field.
    • 78 Metascore
    • 62 Critic Score
    Enter the Mirror
    There is a feeling of contrivance in some of the songs here, but genuine joy and abandonment elsewhere.
    • 81 Metascore
    • 78 Critic Score
    To Love Is to Live
    Although it seems Jehnny Beth has decided to go solo to express more of her vulnerabilities, by the end of To Love is To Live it’s hard to say whether we actually feel any closer to her. However, it also shows her chameleonic abilities as a vocalist, as she’s working with different styles and productions yet still sounding urgent.
    • 79 Metascore
    • 78 Critic Score
    Contact
    The balance between these sounds is what makes it such a three-dimensional listen, as the percussion never overwhelms; despite building up torrential speed and power, this force is made beautiful by the spare-but-carefully-adorned melodic elements. ... The only moments on Contact that don’t open up a world of sensory exploration are the three title-track-come-interludes; “Contact (sukha & somanassa)”, “Contact (dukkha & domanassa)”, and the closing “Contact (upekkhā)”.
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