Clash Music's Scores

  • Music
Select another publication »
For 4,421 reviews, this publication has graded:
  • 58% higher than the average critic
  • 5% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 1.8 points higher than other critics. (0-100 point scale)
Average Music review score: 75
Highest review score: 100 Dead Man's Pop [Box Set]
Lowest review score: 10 Wake Up!
Score distribution:
  1. Positive: 3,768 out of 4421
  2. Mixed: 622 out of 4421
  3. Negative: 31 out of 4421
4421 music reviews
view
per page
    • tbd Metascore
    • 60 Critic Score
    ICEMAN
    ‘Iceman’ is at its most interesting when exploring these conditions and vulnerabilities, but all too often Drake relies on tropes from previous albums to get him over the line, when he should have been trying to burst through the tape.
    • 54 Metascore
    • 50 Critic Score
    ADL
    ‘ADL’ feels samey at times. .... A rich seam for fans to explore, but ultimately this is a widescreen blockbuster that is big on stunning vistas, and short on plot.
    • 56 Metascore
    • 50 Critic Score
    WHAT HAPPENED TO THE STREETS?
    ‘What Happened To The Streets?’ provides more questions than answers, and beneath the brash moments leaves you wondering about the rapper’s longevity.
    • 82 Metascore
    • 60 Critic Score
    Death & Love
    Remaining steadfast in their signature sound, Circa Waves released another nine songs which combines with ‘Death & Love pt.1’ to make an 18 track album. Part two’s first single, ‘CherryBomb’ immediately places you into Circa Wave’s soundscape with its relaxed instrumentation, vibrant riffs and catchy choruses.
    • 64 Metascore
    • 50 Critic Score
    Deadbeat
    Aside from spotty traces of Parker’s genius, at no point does the album elicit any passion since there’s really nothing on there that makes you want to own a copy of it on vinyl or witness the tracklist live.
    • 69 Metascore
    • 60 Critic Score
    The Life Of A Showgirl
    ‘The Life Of A Showgirl’ has its moments, but lacks the consistency of Taylor’s recent work.
    • 48 Metascore
    • 60 Critic Score
    SWAG II
    Moments of quaint inspiration and insight are few and far between. In the mire of an album experience intended to present Bieber as spirited and multi-dimensional, you instead get an artist spread thin; anonymous, distant, too often bloviating across a bloated runtime.
    • 63 Metascore
    • 50 Critic Score
    The Emperor's New Clothes
    The entire musical palette lacks any intrigue or seductiveness. Everything feels like it’s cranked up too loud in the mix and pasted with a synthetic and unappealing gloss. However, Raekwon himself is on solid form.
    • 71 Metascore
    • 60 Critic Score
    Something Beautiful
    There’s a feeling that ‘Something Beautiful’ is searching for a unity that doesn’t quite coalesce, all while lacking some of the towering peaks of Miley’s more commercially-focussed work. A fascinating one-off, potentially; ‘Something Beautiful’ adds another layer to Miley Cyrus’ story.
    • 69 Metascore
    • 50 Critic Score
    7 piano sketches [EP]
    ‘7 Piano Sketches’ feels slight – a bookmark, rather than a tome.
    • 78 Metascore
    • 60 Critic Score
    Portrait Of My Heart
    It doesn’t really coalesce into a total success, despite some unquestionably fun moments, clear skill and grand ambition.
    • 75 Metascore
    • 60 Critic Score
    Forever Is A Feeling
    The end result is something that feels both familiar and oddly generic, a set of Lucy Dacus covers performed by Lucy Dacus herself that somehow still leaves out the most vital elements.
    • 54 Metascore
    • 50 Critic Score
    $ome $exy $ongs 4 U
    On first listen, ‘$ome $sexy $ongs 4 U’ isn’t terrible, but it equally isn’t a vintage release for either artist. PartyNextDoor has undoubtedly released stronger material, and the pair’s regular duets have reached loftier peaks than these.
    • 76 Metascore
    • 60 Critic Score
    Bloom
    ‘Bloom’ is not a weak album by any stretch. The title aspires to present an album and a band that are maturing and flourishing musically, however it is difficult not to feel somewhat underwhelmed by the final result.
    • 70 Metascore
    • 50 Critic Score
    From Zero
    Tracks like ‘Overflow’ and ‘Stained’ are the album’s most impressive. They fuse electronica and rock with genuine elegance, in a way that feels contemporary and, to a certain degree, even cutting-edge. .... Few other tracks catch fire in the same manner, however.
    • 48 Metascore
    • 50 Critic Score
    Eternal Atake 2
    While ‘Eternal Atake 2’ may be content to live in 2020, the rest of the rap world has moved on. Although far from terrible, ‘Eternal Atake 2’ seems to exhibit more signs of the Lil Uzi Vert tail-off – the quality control has dimmed, and the sense of direction exhibited on their early work has waned.
    • 70 Metascore
    • 60 Critic Score
    Film Buff
    Some of the punkier elements of old are fighting with the grandeur aims of the future. At a time when a new generation of artists is doing inventive things to revitalise guitar music once more, two minutes of snot-nosed punk riffs don’t hold the same sway they once did.
    • 37 Metascore
    • 50 Critic Score
    143
    A brash dose of colour for a drab post-Millennial pop scene, she was the bulldozer through the critics doors. On ‘143’ however, there’s a feeling that the world has moved on – with Chappell Roan’s tour sparking Beatlemania-esque scenes of adoration and Sabrina Carpenter maintaining a stranglehold on the charts, you struggle to see where this playful yet unsatisfying record fits into pop’s firmament.
    • 83 Metascore
    • 60 Critic Score
    Midas
    It’s a slight, undemanding effort, and there’s charm to be found if you’re willing to meet the band halfway.
    • 46 Metascore
    • 50 Critic Score
    The Death of Slim Shady (Coup de Grâce)
    ‘The Death Of Slim Shady (Coup de Grace)’ doesn’t quite feel like an ending, but neither does it feel like a continuation. A mixed, often muddled album, it features some of Eminem’s best rapping in a decade – those fast, skippy-yet-intricate flows will never fail to thrill – but his pen is often blunted. It’s at once an effective piece of fan service, while also being a record that disappoints.
    • 67 Metascore
    • 60 Critic Score
    Loom
    There’s no denying, though, that ‘LOOM’ does feel slight. In the era of weighty releases profiled for streaming audiences a mere 10 tracks does seem underwhelming – one song is actually repeated twice, but with added J Balvin for more impact. Far from a disaster, it’s an album that dares to be succinct, but also feels blunt.
    • 78 Metascore
    • 60 Critic Score
    Fine Art
    Broad to the point of contradiction, it’s a record that covers a lot of bases, while lacking a singular purpose. It’s almost as if KNEECAP are enacting a cartoonish version of their own lives – it’s fun, but ultimately two-dimensional.
    • 73 Metascore
    • 60 Critic Score
    Radical Optimism
    It’s hard not to feel like the lead singles live in their own sonic universe. The remaining album tracks, while lyrically co-ordinated, lack sonic cohesion.
    • 64 Metascore
    • 50 Critic Score
    WE STILL DON'T TRUST YOU
    The punchy ‘Drink N Dance’ utilises ominous 80s synths, while ‘This Sunday’ is potent, and atmospheric. ‘Gracious’ is carefully finessed, more evidence of the duo’s world-building techniques. That said, though, there’s a huge amount here that simply passes you by. ‘Always Be My Fault’ is meandering, lacking structure, while songs like ‘Luv Bad Bitches’ and ‘Mile High Memories’ lack substance.
    • 76 Metascore
    • 60 Critic Score
    One Deep River
    While the playing is never less than exceptional – displaying Mark Knopfler’s assured rhythmic sensibility, and his lyrical lead styles – the arrangements on ‘One Deep River’ can sometimes falter.
    • 64 Metascore
    • 60 Critic Score
    We Don't Trust You
    At times uneven, the project stands as testament to the unique bond between these two A-list rap talents.
    • 51 Metascore
    • 60 Critic Score
    Everything I Thought It Was
    ‘Everything I Thought It Was’ can sometimes be forgettable across its 18-track largesse, while thematically it feels bunched around a cluster of feelings.
    • 76 Metascore
    • 60 Critic Score
    Coming Home
    ‘COMING HOME’ competently portrays love as part Afrodisiac, part pulse-racing chase, part languorous and lived-in sensation. ‘COMING HOME’ is also tangential to the live spectacle, and that’s okay.
    • 81 Metascore
    • 60 Critic Score
    Lovegaze
    As with the twin EPs that preceded it, however, the glimpses of originality strewn across ‘Lovegaze’ are too often sparse islands in a sea of pleasant but generic etherea.
    • 53 Metascore
    • 60 Critic Score
    Blockbusta
    With a 19-track span and a colossal guest cast, not everything on ‘BLOCKBUSTA’ lands. There’s a feeling sometimes that these collaborations were done separately and then spliced together, with some moments lacking cohesion, or a sense of chemistry. ‘HOMAGE’ with Kodak Black feels flat, for example, while the record’s eclecticism prevents ‘BLOCKBUSTA’ from truly coalescing. That said, there are moments of real bravery.
prev
Page: