Drowned In Sound's Scores

  • Music
Select another publication »
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
view
per page
    • 80 Metascore
    • 90 Critic Score
    Django Django
    It feels effortless. Even after repeated listening it somehow grows on you.
    • 76 Metascore
    • 90 Critic Score
    Have Some Faith in Magic
    12 immaculately crafted slabs of grandiose sound.
    • 62 Metascore
    • 70 Critic Score
    Born to Die
    Whole thing sounds like a poppy Bond soundtrack remixed for the clubs, although even her faster songs sound slow.
    • 70 Metascore
    • 30 Critic Score
    Rad Times Xpress IV
    In many ways it's a hip joke of an album.
    • 69 Metascore
    • 80 Critic Score
    Clay Class
    Understated, sloth-like and quick-witted all at once.
    • 72 Metascore
    • 70 Critic Score
    (+)DOME
    What the trio lack in pure, ear-fizzing originality, they happily make up for in solid listenability.
    • 72 Metascore
    • 50 Critic Score
    The Hangman Tree
    The album just about manages to avoid the trappings of both quirky and medieval, which is no mean feat for a flute based album.
    • 76 Metascore
    • 70 Critic Score
    Something
    However, as difficult second albums go; and given the circumstances Something emerged from, difficult would be the operative word; Chairlift can be proud at what they've accomplished.
    • 67 Metascore
    • 70 Critic Score
    The Ship's Piano
    If he's not yet unanimously considered the greatest cardigan-stylee speccy-sporting dweeby loser type songwriter-man of recent decades, he's surely on his miserable, merry way.
    • 79 Metascore
    • 80 Critic Score
    Be Strong
    Just enjoy their album for what it is, an absolute blast.
    • 56 Metascore
    • 40 Critic Score
    Idealistic Animals
    This insistence on maxing out on subplot, comes at the expense of an initially intriguing premise and, ultimately, your attention span.
    • 85 Metascore
    • 80 Critic Score
    Old Ideas
    He filters these gifts of poetry and keen observation through his bruised, romantic outlook, into a fully-formed album that sounds as if it was always in there, waiting to see the light of day. Or the darkness.
    • 69 Metascore
    • 60 Critic Score
    Clear Heart Full Eyes
    Despite its flaws this first solo offering is a human record; brave and honest, both in content and purpose.
    • 81 Metascore
    • 80 Critic Score
    Iron Balls of Steel
    Niches, of course, tend to hide most of metal's jewels, and Iron Balls Of Steel is the genre's first great album of 2012.
    • 73 Metascore
    • 60 Critic Score
    Area 52
    This album will infuriate many but bewitch some.
    • 74 Metascore
    • 50 Critic Score
    Let's Go Eat the Factory
    For every full colour oil on canvas there are two doodles that fail to engage this sympathetic listener even after five or six plays.
    • 81 Metascore
    • 70 Critic Score
    The Lion's Roar
    A gorgeous, gripping study of English and north American folk music that covers as many of the genre's quirks as it can, without crawling from cliché to catastrophe.
    • 79 Metascore
    • 70 Critic Score
    La Grande
    Although La Grande is no huge departure from what Gibson has been practicing for years, it's a wholesome and welcome addition to a back-catalogue which has very few flaws, even if the moments which stand up and make you take notice are not numerous.
    • 66 Metascore
    • 70 Critic Score
    Hymns
    What's striking from the outset about Hymns is that little has changed in Davies and Matthews' elegant world of classically-inspired chamber pop.
    • 73 Metascore
    • 70 Critic Score
    Strange Weekend
    Sonically the songs are strong.
    • 61 Metascore
    • 50 Critic Score
    Moonfire
    Boy & Bear sound more like a personality-free replica of a radio-friendly sub-genre of the folk tradition, and fall way short of convincing us that they're the real deal.
    • 60 Metascore
    • 70 Critic Score
    Future This
    As the sound of a band still in development mode and not quite sure of their identity, Future This offers a lucid insight into where their next sonic adventure may take them.
    • 72 Metascore
    • 70 Critic Score
    Voyageur
    Whilst Vernon's production does add a glossy sheen, Edwards' captivating character is ultimately untouched and as a result, she can finally stand loud and proud as a truly talented individual.
    • 75 Metascore
    • 50 Critic Score
    A Flash Flood of Colour
    A sterile, witless turn here.
    • 68 Metascore
    • 40 Critic Score
    America Give Up
    Catchy, bratty and phenomenally uninspiring, America Give Up is not so much shouting from the rooftops as howling at the moon.
    • 72 Metascore
    • 70 Critic Score
    Aabenbaringen Over Aaskammen
    Aabenbaringen Over Aaskammen attempts to splice that sound with a new, more varied approach. It isn't always entirely successful, it's sometimes awkward, but hey, what do you want?
    • 62 Metascore
    • 40 Critic Score
    Glowing Mouth
    I listen to Milagres but I hear Coldplay.
    • 70 Metascore
    • 70 Critic Score
    Ester
    Ester doesn't quite have a narrow enough scope for us to be able to say that Trailer Trash Tracys have a sound that's all their own, but they're close to finding their voice, and with a little more refinement it will come out, not loudly, but clearly.
    • 62 Metascore
    • 60 Critic Score
    Baby
    If you got concussed during the first Pearl Jam tour and have only just come out of your coma, boy, have we got a great new sound for you.
    • 82 Metascore
    • 90 Critic Score
    Exmilitary
    What at first appears to be aggression is actually 100 per cent anguish, and the prevailing sense is that, like Black Flag, every ounce of that angst has been funnelled into edge, bone-crunching rigour and the sculpting of their largely unprecedented style into austere angles.
Page: