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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    • 69 Metascore
    • 60 Critic Score
    Lenny
    Its 12 tracks are unusually raucous and raw, as Kravitz finds a comfort zone with turbocharged punk and arena rock. [Oct/Nov 2001, p.111]
    • Blender
    • 51 Metascore
    • 40 Critic Score
    Invincible
    A long-winded, soulless soul album of the kind Levert might have once turned in. [#4, p.117]
    • Blender
    • 56 Metascore
    • 40 Critic Score
    Oracle
    There's nothing here that you couldn't hear blaring out of a thousand suburban garages on any Saturday night. [#4, p.118]
    • Blender
    • 71 Metascore
    • 60 Critic Score
    Expansion Team
    Bursts with neat production touches. [#4, p.116]
    • Blender
    • 62 Metascore
    • 60 Critic Score
    Morning View
    It's not quite as thrillingly risky as the Deftones' White Pony, but it deserves the collegiate adulation it will likely receive. [Oct/Nov 2001, p.107]
    • Blender
    • 62 Metascore
    • 80 Critic Score
    Wake Up And Smell The Coffee
    Wake Up... is the set of inspired anthems they needed to deliver in '96. [Oct/Nov 2001, p.103]
    • Blender
    • 66 Metascore
    • 60 Critic Score
    Drukqs
    Odd, ambitious, confounding, and occasionally brilliant -- which is to say it's much like the five Aphex albums that preceded it. [#4, p.114]
    • Blender
    • 61 Metascore
    • 80 Critic Score
    Atomic
    The arrangements are so flush with guitar hooks and buoyant harmonies that these tunes are entertaining even when they're not catchy. [Oct/Nov 2001, p.108]
    • Blender
    • 73 Metascore
    • 80 Critic Score
    Cuttin' Heads
    The songs on Cuttin' Heads are his strongest since 1993's Human Wheels. [#4, p.120]
    • Blender
    • 72 Metascore
    • 60 Critic Score
    Get Ready
    Think 1993's hit "Regret," but with tougher guitars, rockier grooves and a more up vibe. [Oct/Nov 2001, p.113]
    • Blender
    • 73 Metascore
    • 60 Critic Score
    Rejected Unknown
    Rejected Unknown proves why those fans are so devoted. [Oct/Nov 2001, p.106]
    • Blender
    • 91 Metascore
    • 80 Critic Score
    Is This It?
    The biggest draw is the Iggy-Jagger sexual charisma of 22-year-old singer Julian Casablancas, whose self-possessed cool is astonishing. [Aug/Sep 2001, p.130]
    • Blender
    • 76 Metascore
    • 80 Critic Score
    Ten New Songs
    While Ten New Songs is not an attempt to break new ground, its sophistication and unassuming depth are almost worth the decade-long wait. [Oct/Nov 2001, p.103]
    • Blender
    • 69 Metascore
    • 60 Critic Score
    Beautifulgarbage
    The Garbage machine doesn't always function so pristinely. [Oct/Nov 2001, p.105]
    • Blender
    • 81 Metascore
    • 60 Critic Score
    Songs In Red And Gray
    One of Vega's best. [Oct/Nov 2001, p.114]
    • Blender
    • 78 Metascore
    • 80 Critic Score
    Gold
    Feels positively grand in scope. [Aug/Sep 2001, p.120]
    • Blender
    • 74 Metascore
    • 80 Critic Score
    Let It Come Down
    Brings Pierce's preoccupation with panoramic emotional and chemical excess to startling, transcendent climax. [Oct/Nov 2001, p.112]
    • Blender
    • 71 Metascore
    • 80 Critic Score
    The Id
    A conceptual bacchanal of sweat-drenched lust. [Oct/Nov 2001, p.104]
    • Blender
    • 60 Metascore
    • 40 Critic Score
    V
    It doesn't help that Live operate at two speeds: overamped anthems and over-the-top ballads, which render [Kowalczyk's] doubtless heartfelt homilies rather empty. [Aug/Sep 2001, p.125]
    • Blender
    • 65 Metascore
    • 80 Critic Score
    Strange Little Girls
    Girls isn't as pop-friendly as 1998's From The Choirgirl Hotel, but Amos's take on Depeche Mode's starkly beautiful "Enjoy The Silence" is irresistible. [Aug/Sep 2001, p.120]
    • Blender
    • 71 Metascore
    • 40 Critic Score
    Goodbye Country (Hello Nightclub)
    An ultrapolite, jazz-inflected collection of tunes that will reassure coming-down ravers, but it offers little to quicken the pulse. [Oct/Nov 2001, p.104]
    • Blender
    • 93 Metascore
    • 100 Critic Score
    Love And Theft
    Not since 1966's Blonde on Blonde has Dylan sounded so happy and alert. [Oct/Nov 2001, p.102]
    • Blender
    • 80 Metascore
    • 80 Critic Score
    All Is Dream
    Not as revelatory as Deserter's Songs, but a worthy (and lovely) companion piece. [Aug/Sep 2001, p.125]
    • Blender
    • 58 Metascore
    • 60 Critic Score
    A Funk Odyssey
    Lurches from dewy-eyed sentimentality to vicious funk. [Oct/Nov 2001, p.105]
    • Blender
    • 75 Metascore
    • 60 Critic Score
    Rockin' The Suburbs
    When he's not being sour, Folds' flair for melody and simple, economical arrangements can create wonderful moments. [Aug/Sep 2001, p.122]
    • Blender
    • 75 Metascore
    • 60 Critic Score
    Wonderland
    This is a band reborn and ready to soar. [Oct/Nov 2001, p.103]
    • Blender
    • 60 Metascore
    • 40 Critic Score
    Mink Car
    Almost a total wreck -- even decent melodies are hard to come by. [Aug/Sep 2001, p.130]
    • Blender
    • 80 Metascore
    • 60 Critic Score
    God Hates Us All
    It's not as good as 1988's South of Heaven, but there's enough speaker-shredding guitar noise to make up for any vocal deficiencies. [Aug/Sep 2001, p.128]
    • Blender
    • 59 Metascore
    • 60 Critic Score
    Glitter
    After years of trading her signature flourishes for a radio-ready purr, she's left with almost no presence at all. [Aug/Sep 2001, p.118]
    • Blender
    • 66 Metascore
    • 60 Critic Score
    The Altogether
    Their grooves can sometimes roll on as if unattended -- which is fine for living-room techno, but not for the pop songs they're trying to emulate. [Jun/Jul 2001, p.114]
    • Blender
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