Blender's Scores

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For 1,854 reviews, this publication has graded:
  • 39% higher than the average critic
  • 3% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 7.9 points lower than other critics. (0-100 point scale)
Average Music review score: 65
Highest review score: 100 Together Through Life
Lowest review score: 10 Folker
Score distribution:
  1. Positive: 957 out of 1854
  2. Mixed: 862 out of 1854
  3. Negative: 35 out of 1854
1854 music reviews
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per page
    • 80 Metascore
    • 80 Critic Score
    Super Taranta!
    The best song on Super Taranta! is all about one <i>bad</i> party: the disappointed, outright funny 'American Wedding. [Aug 2007, p.111]
    • Blender
    • 80 Metascore
    • 60 Critic Score
    The Libertines
    A thrilling, frustrating souvenir of a band whirling out of control. [Sep 2004, p.130]
    • Blender
    • 80 Metascore
    • 80 Critic Score
    The Con
    They might sound like Girl Scouts, but these are tough cookies. [Aug 2007, p.117]
    • Blender
    • 80 Metascore
    • 70 Critic Score
    Awfully Deep
    It's protest music gone gleefully psycho. [Jul 2005, p.122]
    • Blender
    • 80 Metascore
    • 70 Critic Score
    Vivian Girls
    The recording quality on their debut album is admirably scuzzy; the drums sound like somebody’s banging a cereal box on the floor, which is part of the immediate charm.
    • 80 Metascore
    • 80 Critic Score
    Pawn Shoppe Heart
    Though not as ambitious or original as the [White] Stripes at their best, the VB's indelible punk-rock blues parks a new car in the Motor City garage. [Apr 2004, p.136]
    • Blender
    • 80 Metascore
    • 80 Critic Score
    Fall Heads Roll
    The arrangements pound and lurch through acrid garage-punk riffs with crazy sureness. [Dec 2005, p.145]
    • Blender
    • 80 Metascore
    • 80 Critic Score
    The Magic Numbers
    Resistance is useless. [Oct 2005, p.139]
    • Blender
    • 80 Metascore
    • 70 Critic Score
    Under The Skin
    Gorgeously understated. [Nov 2006, p.138]
    • Blender
    • 80 Metascore
    • 40 Critic Score
    Electric Circus
    Its attempts at a more ethereal sound crash up against Common's cumbersome intellectualizing. [#13, p.91]
    • Blender
    • 80 Metascore
    • 70 Critic Score
    Monday At The Hug & Pint
    [Moffat's] monotone is offset by colorful arrangements. [May 2003, p.114]
    • Blender
    • 80 Metascore
    • 60 Critic Score
    Wig In A Box: Songs From & Inspired By Hedwig & The Angry Inch
    There are some surprising misfires here... but also some unexpected treats. [Dec 2003, p.147]
    • Blender
    • 80 Metascore
    • 70 Critic Score
    The Grind Date
    Dulcet R&B hooks are spoonfuls of sugar that make De La catchy enough for a new generation of fans. [Nov 2004, p.132]
    • Blender
    • 80 Metascore
    • 80 Critic Score
    O
    This free-wheeling debut has the potential to run and run, carried aloft on the shoulders of the overly emotional. [#18, p.131]
    • Blender
    • 80 Metascore
    • 80 Critic Score
    Now Here Is Nowhere
    Grand in scope, majestic in sweep and only 57 percent pretentious. [#27, p.143]
    • Blender
    • 80 Metascore
    • 60 Critic Score
    The Craft
    Full of clever wordplay one moment, kind of pretentious the next. [Oct 2005, p.134]
    • Blender
    • 80 Metascore
    • 70 Critic Score
    Last Days Of Wonder
    The Sparks' performances are so understated, their arrangements so mechanically soothing, that it's easy to miss Rennie's brutal, elegant twists on folk cliches. [Jul 2006, p.99]
    • Blender
    • 80 Metascore
    • 60 Critic Score
    Nashville
    Lyrically, Nashville... is about as insightful as a Hee Haw rerun. But... his warm, reedy voice gives comfort where his words can't. [Apr 2005, p.125]
    • Blender
    • 80 Metascore
    • 80 Critic Score
    Unglamorous
    The tracks are catchy, meaty and modern. [Sep 2007, p.131]
    • Blender
    • 80 Metascore
    • 70 Critic Score
    I'll Sleep When You're Dead
    For the first time in El-P's career, he's realized you don't need to be loud to get your point across. [Apr 2007, p.110]
    • Blender
    • 80 Metascore
    • 100 Critic Score
    Untouchables
    Their best, most expansive album. [#8, p.112]
    • Blender
    • 80 Metascore
    • 80 Critic Score
    Death Is This Communion
    It's sharp and in your face, like a scimitar. [Oct 2007, p.110]
    • Blender
    • 80 Metascore
    • 70 Critic Score
    Okonokos [Live]
    Proves they can do just fine without the foggy-hollow reverb they've always used to make their meandering sound mysterious. [Oct 2006, p.139]
    • Blender
    • 80 Metascore
    • 80 Critic Score
    Rising Down
    Rising Down is tightly focused and appealingly modest in its ambitions.
    • 80 Metascore
    • 60 Critic Score
    Confessions On A Dance Floor
    [It] sounds as if she's happy to give the people what they want: escapism and nostalgia. [Dec 2005, p.152]
    • Blender
    • 80 Metascore
    • 70 Critic Score
    Furr
    Singer-guitarist Eric Earley accesses the haunted Americana Wilco nailed on "Yankee Hotel Foxtrot," with big nods to mid-'60s Bob Dylan, early-'70s Neil Young and the country Grateful Dead. [Oct 2008, p.78]
    • Blender
    • 80 Metascore
    • 70 Critic Score
    When I Pretend To Fall
    Brainy, brooding, classically "indie" guitar music. [#16, p.121]
    • Blender
    • 80 Metascore
    • 70 Critic Score
    A Lifetime Of Temporary Relief
    It flows like a scrapbook rather than a novel, but it portrays them as diligent experimenters and meticulous melodists who have been liberated by embracing restrictions. [Sep 2004, p.155]
    • Blender
    • 80 Metascore
    • 60 Critic Score
    Antics
    Less lugubrious and more melodic than [Bright Lights], but the improvement is marginal. [Oct 2004, p.119]
    • Blender
    • 79 Metascore
    • 80 Critic Score
    The Scene Of The Crime
    The big surprise on the 61-year-old’s follow-up isn’t her knockout voice--it’s the sympathetic backup provided by Lynyrd Skynyrd–worshippers Drive-By Truckers (whose guitarist, Patterson Hood, produced the record). The well-selected, never-obvious covers of songs by writers from Elton John to Willie Nelson are unflinching tales of struggle and survival.
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