Mojo's Scores

  • Music
For 10,509 reviews, this publication has graded:
  • 53% higher than the average critic
  • 5% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 0.5 points lower than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 Hundred Dollar Valentine
Lowest review score: 10 Milk Cow Blues
Score distribution:
10509 music reviews
    • 74 Metascore
    • 60 Critic Score
    Although darkness suffuses Narrow, the rising peaks of its songs and the dramatic arrangements Plaschg frames them in, its intimacy affects. [Apr 2012, p.95]
    • Mojo
    • 66 Metascore
    • 60 Critic Score
    More attention seems to have been paid to assembling the cast than finding something for them to record. [Dec 2004, p.98]
    • Mojo
    • 76 Metascore
    • 60 Critic Score
    Baobab Tree's bossa nova sway, the title track's lounge vibes and Lo Mas Dulce's electro-Tropicalia weirdness impress. [Jul 2017, p.96]
    • Mojo
    • 66 Metascore
    • 60 Critic Score
    Imposter, if not essential, always ring true. [Jan 2022, p.83]
    • Mojo
    • 74 Metascore
    • 60 Critic Score
    [Body/Erase's] opening six minutes resemble an accidental recording made inside an overcoat pocket before mediated snatches of feedback further hint towards this maverick tape manipulator's dark art. [Jan 2022, p.82]
    • Mojo
    • 65 Metascore
    • 60 Critic Score
    Fade-outs on six of the songs suggest a studio-jam approach that works well, but some of the best tracks are the ones that shirk blues idioms. [Aug 2014, p.90]
    • Mojo
    • 71 Metascore
    • 60 Critic Score
    The Lillywhite Sessions doesn't just open another window into Walker's mind, it points out a door to a place beyond. Not everyone will want to go too far through it, but it's an alluring gateway. [Jan 2019, p.86]
    • Mojo
    • 86 Metascore
    • 60 Critic Score
    What is missing is that impish, dangerous side, the famous contorted grin and all that it suggests: humour and horror, surprise and confrontation. [Nov 2014, p.89]
    • Mojo
    • 75 Metascore
    • 60 Critic Score
    Grant sets aside his personal dramas for more absurd theatrical antics. [Apr 2018, p.92]
    • Mojo
    • 78 Metascore
    • 60 Critic Score
    On their best pastiches, the jokes land often enough, but you can't help yearning for something as perfectly-turned as Benny Hill's Ernie, or as ardently silly as John Shuttleworth's I Can't Go Back to Savoury Now. [Apr 2019, p.88]
    • Mojo
    • 74 Metascore
    • 60 Critic Score
    Chiaroscuro is the contrast between light and dark in visual art, and I Break Horses' second album is similarly conflicted. [Feb 2014, p.97]
    • Mojo
    • 73 Metascore
    • 60 Critic Score
    On the third Uni long-player--a series designed, unlike his starker glitch compositions, to work in dance clubs--the 52-yar-old's signature techno pulses and liminal keyboard clouds enmesh with comparative generosity. [May 2018, p.93]
    • Mojo
    • 76 Metascore
    • 60 Critic Score
    Peace Or Love is sophisticated without being easy, a quiet storm all of its own. [Aug 2021, p.86]
    • Mojo
    • 78 Metascore
    • 60 Critic Score
    Ambivalence Avenue presents a livlier Bibio, tastefully absorbing hip hop and disco beats. [Aug 2009, p.104]
    • Mojo
    • 76 Metascore
    • 60 Critic Score
    Of the various sidelines spinning off Vancouver psych-rockers Black Mountains, this is the prettiest. [Sep 2009, p.102]
    • Mojo
    • 67 Metascore
    • 60 Critic Score
    Nothing here compares to opening track Heaven, Sande's ubiquitous 2011 hit, though Daddy attempts the same You Got The Love dynamic with less vital results. [Mar 2012, p.102]
    • Mojo
    • 74 Metascore
    • 60 Critic Score
    Don't expect a companion to the "Life On Earth" soundtrack though, even the ballads here are highly strung, some made otherworldly by drones, controlled feedback and mallet percussion, other stung by Meiburg's vocals, gear-shifted from choirboy puriety to anguish. [Mar 2010, p.98]
    • Mojo
    • 72 Metascore
    • 60 Critic Score
    While there's nothing here that immediately screams to be considered in the front rank of their input, the more you listen, the more it feels like being reunited with some long-lost, missing-presumed-dead relatives. ... Voyage is just as good as you expect. [Jan 2022, p.84]
    • Mojo
    • 51 Metascore
    • 60 Critic Score
    There is little truly distinctive here. [Jun 2003, p.113]
    • Mojo
    • 78 Metascore
    • 60 Critic Score
    Such is the breadth of ideas and chutzpah here that you can even forgive Godin for having the temerity to name one track Bach Off. [Oct 2015, p.89]
    • Mojo
    • 76 Metascore
    • 60 Critic Score
    He brings an easy empathy to these songs. [Sep 2014, p.96]
    • Mojo
    • 80 Metascore
    • 60 Critic Score
    Ought's sound is stamped with enough original invention for them to stand tall amongst the art-schooled crowd. [Nov 2015, p.90]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    What's disappointing is how evenly-tempoed and sedate the pace is. [Jun 2005, p.95]
    • Mojo
    • 61 Metascore
    • 60 Critic Score
    Sweet, but not quite satisfying. [Oct 2014, p.90]
    • Mojo
    • 59 Metascore
    • 60 Critic Score
    This is a band who need to shrink back a little, switch off the emotional wind-machine, and work out how to make the personal less impersonal. [Jan 2019, p.86]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    Strawbs are clearly not intent on coasting. [Apr 2021, p.81]
    • Mojo
    • 72 Metascore
    • 60 Critic Score
    Lavish enough for fans of Amon Duul II's headshop tribal rituals. [Jun 2021, p.90]
    • Mojo
    • 74 Metascore
    • 60 Critic Score
    Face Tat is less free-form than Astrological Straits, 2008's exhilarating, exhausting debut, but it's still a full 15 rounds of aural boxing. [Feb 2011, p.100]
    • Mojo
    • 72 Metascore
    • 60 Critic Score
    You might even give it a cuddle because it delivers the kind of ultra-friendly music that sits up and in a cutesy manner demands such attention. [Fall 2009, p.93]
    • Mojo
    • 81 Metascore
    • 60 Critic Score
    Attention wanders as the album slips into a lazy mid-pace skunk groove and Robinson falls back on 'one love' lyrics, but when the duo are joined, on three tracks, by the spider-baby vocals of Kiki Hitomi the effect is unnerving, like modern urban folk tales whispered by a disembodied duo of night bus wraiths. [Jan 2010, p. 96]
    • Mojo