Drowned In Sound's Scores

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For 4,812 reviews, this publication has graded:
  • 53% higher than the average critic
  • 3% same as the average critic
  • 44% lower than the average critic
On average, this publication grades 1.9 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 It Won't Be Like This All the Time
Lowest review score: 0 BE
Score distribution:
  1. Positive: 3,477 out of 4812
  2. Mixed: 1,220 out of 4812
  3. Negative: 115 out of 4812
4812 music reviews
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    • 81 Metascore
    • 50 Critic Score
    English Tapas
    Unfortunately, the plodding repetition soon rears its ugly head again, and stays for the duration.
    • 64 Metascore
    • 50 Critic Score
    Human
    The problem with Human (the album) is that it feels like it’s been over tooled for success, that the commercial facets of his talents have been blown up at the expense of what might have actually made him interesting.
    • 63 Metascore
    • 50 Critic Score
    Waiting For The Sirens' Call
    Mellifluous, yet unenticing.
    • tbd Metascore
    • 50 Critic Score
    What Happens in Hell Stays in Hell
    By psychobilly's own modern standards it's serviceable, faithful, consistent and good for a groggy pogo, but in the greater scheme of things there's very little here to nourish the modern punk fan.
    • 63 Metascore
    • 50 Critic Score
    World on Fire
    World On Fire, while certainly not without charms, is a record that's happy to coast instead of climb.
    • 65 Metascore
    • 50 Critic Score
    Welcome Joy
    It's just there was the expectation of more, and this has left me a bit cold.
    • 66 Metascore
    • 50 Critic Score
    Taiga
    Though Taiga ends on something of a high, in all it comes across as a wholly wasted opportunity that, with a few lessons in moderation and restraint, could have been something altogether more impressive.
    • 63 Metascore
    • 50 Critic Score
    Eat Me, Drink Me
    Mercifully, this album shouldn’t even be a footnote – it’s no nadir, for sure, but it sure isn’t any good.
    • 54 Metascore
    • 50 Critic Score
    Since I Saw You Last
    There’s flashes of very skilled songwriting, but there’s also the cynical, calculated feel of a record built with a certain commercial targets in mind.
    • 68 Metascore
    • 50 Critic Score
    Sigh No More
    Despite any popularity which may come their way, what Mumford & Sons have produced in Sigh No More is nothing more than an empty shell of a half-decent record.
    • 64 Metascore
    • 50 Critic Score
    We Started Nothing
    These glimpses of something unexpected are few and far between, much of We Started Nothing tonally muddled into a weird new form of MOR: cool for five minutes amongst the fashionable crowd but unlikely to reach audiences beyond those fascinated with the hot and happening.
    • 70 Metascore
    • 50 Critic Score
    Good Grief
    The songs flow by and are engaging enough, but as soon as they’ve finished you’ve totally forgotten them.
    • 70 Metascore
    • 50 Critic Score
    Get Awkward
    Now they’re back, back, back (repetition absolutely necessary) with a second dose of barely-pubesced raucousness and, a mere two spins down the line, DiS is seriously reconsidering the prospect of having children, like, ever.
    • 64 Metascore
    • 50 Critic Score
    Off the Record
    Off the Record is of more interest as a historical document than for the music itself--something Bartos would probably admit.
    • 61 Metascore
    • 50 Critic Score
    Sleep Mountain
    Sleep Mountain lacks both the urgency and unhinged fervour of Arcade Fire and the inventive mischief of the Flaming Lips.
    • 68 Metascore
    • 50 Critic Score
    Instructions
    Some sparks of brilliance fly in Instructions, but not enough to distinguish the spectacle of Heck from their recorded output.
    • 68 Metascore
    • 50 Critic Score
    Green Language
    It’s most thrilling moments are the ones you’ve already heard before.
    • 67 Metascore
    • 50 Critic Score
    Someone Else's Deja Vu
    The man wants so much to create a ‘70s-apeing epic, but fails. Yet that's not to say this is a bad record per se, it's just that Knapp's whole Son, Ambulance project has a good few obvious clangers dragging it down.
    • 80 Metascore
    • 50 Critic Score
    World's Strongest Man
    Here, the former Supergrass leader is so busy trying to prove something with his lofty themes and overreaching stylisation, that all of the magic is lost.
    • 46 Metascore
    • 50 Critic Score
    Margins
    It is laudable for Smith to try and eschew the eccentric frontman label in favour of something more cerebral. But in attempting to reach for the moon, he ends up merely stalled and snagged, dangling awkwardly from an unwieldy scaffold of clumsy platitude and hollow couplets.
    • 78 Metascore
    • 50 Critic Score
    Major
    Major moves some distance away from Fang Island's core aims, and their first record's core strengths--instead offering up a collection of tracks which do far too little, for far too long.
    • 62 Metascore
    • 50 Critic Score
    This Is What the Truth Feels Like
    This Is What the Truth Feels Like is half-baked in places and perhaps a little too safe in others, but it’s really, properly genuine, and if she doesn’t leave it a decade next time, Stefani might still be able to make a great pop record. It’s in there, somewhere.
    • 65 Metascore
    • 50 Critic Score
    Temple of I & I
    Alas, The Temple of I & I, does not hit the high benchmarks of prior quality. Very much a Thievery album in its own right, with the tropical rhythms alongside the DC-based musicians approach to studio-dub, the LP falls short of the classic peak moments of the past.
    • 74 Metascore
    • 50 Critic Score
    From Gas To Solid/You Are My Friend
    This is ultimately an unremarkable--and frankly forgettable--third album from a notably gifted songwriter.
    • 62 Metascore
    • 50 Critic Score
    Vices & Virtues
    Vices & Virtues is quite some distance from the triumphs of that remarkable record.
    • 71 Metascore
    • 50 Critic Score
    Underneath the Rainbow
    For the most part Underneath the Rainbow lacks the acerbic wit that has underscored so much previous Lips material; there’s a handful of tracks here that really are sorely lacking in character.
    • 71 Metascore
    • 50 Critic Score
    Animal Serenade
    The material ranges from the sublime to the good to the galling.
    • 72 Metascore
    • 50 Critic Score
    Frying on This Rock
    Regrettably, there's little substance to take in here.
    • 50 Metascore
    • 50 Critic Score
    Winning Days
    Ultimately, ‘Winning Days’ is an highly frustrating listen.
    • 59 Metascore
    • 50 Critic Score
    This House Is Not for Sale
    The arena-filling sound that runs through modern music owes something to Bon Jovi, but This House… comes across more like their third-tier spiritual successors, comprised of forgettable dance-rock and schmaltzy slow-burners loaded with endless platitudes and those echoey, staccato guitar lines that bands do when they want to sound big.
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