Glide Magazine's Scores

  • Music
For 1,116 reviews, this publication has graded:
  • 65% higher than the average critic
  • 8% same as the average critic
  • 27% lower than the average critic
On average, this publication grades 5.9 points higher than other critics. (0-100 point scale)
Average Music review score: 79
Highest review score: 100 We Will Always Love You
Lowest review score: 40 Weezer (Teal Album)
Score distribution:
  1. Negative: 0 out of 1116
1116 music reviews
    • 79 Metascore
    • 70 Critic Score
    There are enough catchy hooks and eclectic compositions to keep things interesting, though it never reaches the high levels of Twin Fantasy. The Scholars is a bit of an overreach, with puzzling narratives following too many characters to track without help, but it’s impressive for its ambition and giant swing at transcendent art.
    • 82 Metascore
    • 70 Critic Score
    Benmont Tench uses his spirituality, heartbreak, aging, love, pathos, and humor throughout The Melancholy Season, a contemplative affair perfect for the album’s title moments.
    • 70 Metascore
    • 60 Critic Score
    Though an uneven collection taken as a whole, Dream Into It still boasts enough songs to convince you that the sneering, charming Idol is not quite ready for the retirement home yet.
    • 76 Metascore
    • 70 Critic Score
    Some reimagining and some looking back, ‘Journey Through Life’ is a pleasant reflection on where Femi Kuti has been and where that could possibly lead him in the future.
    • 84 Metascore
    • 80 Critic Score
    Mortal Primetime is the band’s softest album and has less dynamic intrigue than Headfull of Sugar. It’s focused more on storytelling and pop hooks than on in-your-face rock. It’s an album more about the stories than the licks, though there are still enough distorted guitars and driving rhythms for the rock fans.
    • 78 Metascore
    • 70 Critic Score
    SKELETÁ is a fascinating concept album with tight melodies and carefully crafted arrangements, enough to satisfy day one Ghost fans, but might fall short of bringing new fans into the band’s ever-growing sonic realm.
    • 77 Metascore
    • 80 Critic Score
    The album is as raw as it gets, simply down-home porch music. .... We now have a vivid reminder of what traditional Black string music sounds like, at a time when those in power want to ignore and even erase such important legacies.
    • 77 Metascore
    • 80 Critic Score
    What makes Send A Prayer My Way so compelling is that – song for song – you have two superb singers working together rather than competing over the vocals singing some of the smartest lyrics the genre boasts.
    • 79 Metascore
    • 80 Critic Score
    Condon’s latest LP under his Beirut moniker is his most ambitious and rewarding project to date. A Study of Losses is a high-concept LP executed with careful precision by an empathetic poet hellbent on injecting his views on longing and loss into these poignant displays of folksy chamber pop bliss.
    • 80 Metascore
    • 80 Critic Score
    This combo of fidgety indie rock and uneasy dance tracks works well on Thee Black Boltz, Tunde Adebimpe’s successful solo debut.
    • 84 Metascore
    • 90 Critic Score
    Sable, fABLE is stunning, emotionally-driven, psychedelic pop that bends at Vernon’s will, allowing the artist to explore the intricacies of the musical empire he has built over the years.
    • 66 Metascore
    • 80 Critic Score
    Either way you slice it, Sleigh Bells’s latest outing is fun-loving pop music that captures a change in the veteran musician’s craft and attitude towards the genre they call home.
    • 79 Metascore
    • 70 Critic Score
    The successes on Always Been prove that this combo works well, but the missteps also show that things can be improved upon if Craig Finn decides to record with Adam Granduciel again.
    • 72 Metascore
    • 70 Critic Score
    As The Velveteers continue to grow, so does their sound and songwriting. A Million Knives is a positive next step on their journey.
    • 83 Metascore
    • 80 Critic Score
    Forever Howlong is more of the daring prog-rock Black Country has become known for, and while their growth is subtle, it is far from a non-factor. Across these eleven songs, the band spins fascinating, folksy tales and whimsically delivers them, giving the album’s dark subject matter a soft edge.
    • 84 Metascore
    • 80 Critic Score
    “Belonging” lives up to its name with a series of sleek parallel lines of playing that ultimately intersect. There’s a minimum of friction and a maximum of concordance on that track, which might well be an accurate means to summarize the whole of the Branford Marsalis Quartet’s Belonging.
    • 75 Metascore
    • 80 Critic Score
    Lonesome Drifter is a no-frills effort from Crockett that harkens back to his blues roots while staying stubbornly in the present. Ironically, Crockett’s nostalgia trip created some of his career’s more urgent and present music.
    • 84 Metascore
    • 70 Critic Score
    There are far fewer up-tempo tunes than some would like, but that’s their mantra. In that sense, the album could benefit from better balance as we deal primarily with ballads through these ten. Yet, who can argue with Krauss’ immaculate, singular vocals and Moore’s powerful voice? It is a great counterpoint, although, to be fair, they sometimes seem at odds with each other.
    • 69 Metascore
    • 80 Critic Score
    Dreams on Toast has the same stadium rock credentials as the mega-hit Permission to Land. Guitarist Justin Hawkins’s vocals are a bit more subdued, but he still croons and belts with a natural swagger. His brother, guitarist Dan Hawkins, delivers solid riffs anchored by the strong rhythm section of bassist Frankie Poullain and drummer Rufus Taylor.
    • 75 Metascore
    • 80 Critic Score
    While the music is great and her vocals impressive, her knack for writing unforgettable lyrics is still the most charming thing about her music.
    • 83 Metascore
    • 80 Critic Score
    Bejar’s return to his Destroyer moniker is a welcomed continuation of his colorful discography while introducing a new side of the artist’s balladry, one that is a welcomed shift in the pantheon of Bejar’s sonic explorations.
    • 79 Metascore
    • 80 Critic Score
    Is
    Is doesn’t have the same eclectic range as something like Z or The Waterfall, but it’s a solid album with ten captivating songs and no missteps. From the danceable groove rock of “Everyday Magic” to the propulsive banger “Lemme Know,” everything works.
    • 82 Metascore
    • 90 Critic Score
    Holley struck left-field gold on Tonky, and there is nothing left to do except take it all and sing the praises of an artist whose self-expression becomes anthems for the new world.
    • 82 Metascore
    • 80 Critic Score
    An unusually provocative piece of work.
    • 80 Metascore
    • 80 Critic Score
    Ultimately, it’s a fun record and one that begs the question of just how big this band could have been in the succeeding decades if they had not imploded on takeoff.
    • 82 Metascore
    • 90 Critic Score
    Throughout The Father of Make Believe, Coheed and Cambria crafts unique stories that meld reality and fiction while balancing ferocious attacks with dulcet melodies. Whether taken as the next part of the Amory Wars saga, a fourth-wall-breaking commentary on it, or as its own thing, it’s masterful art that lives up to its ambitions.
    • 83 Metascore
    • 80 Critic Score
    Despite containing infectious anthems like The Cure-inspired “One More Day” and pop-punk powerhouse “Chain Reaction,” Cotton Crown is a complex yet highly rewarding listen.
    • 76 Metascore
    • 90 Critic Score
    It showcases Dream Theater’s status as a collection of musical masters who, forty years later, remain at the top of their games.
    • 85 Metascore
    • 90 Critic Score
    We hear some new facets of Marshall’s artistry and have a terrific record demonstrating his versatility and vision. Clearly, it’s worthy of the hype.
    • 84 Metascore
    • 80 Critic Score
    Foxes in the Snow is a broad collection of songs played alone on his acoustic 1940 Martin antique guitar, seemingly without a central theme. Few artists can get away with such a simple approach, but Isbell has earned that status. The question then is whether there will be memorable songs like “Cover Me Up” or “Elephant” that define Southeastern. Only time will tell whether they are here.