Mojo's Scores

  • Music
For 10,504 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:
10504 music reviews
    • 68 Metascore
    • 60 Critic Score
    A preposterous, highly-entertaining return. [Apr 2005, p.104]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    Herren never lets his music become too easy-going or the listener too settled. [Mar 2006, p.108]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    Tremulous covers from the '60s, '70s, US Westerns and beyond. [Jan 2018, p.93]
    • Mojo
    • 68 Metascore
    • 80 Critic Score
    This just might be their best work in 25 years. [Jan 2013, p.92]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    The best new tracks' confidence boosts the band's emotional clout. [Oct 2019, p.88]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    Occasionally, the vaulting arrangements threaten to overwhelm what is a naturally lower-case singing voice, but the ambition here cannot be faulted. [Apr 2023, p.85]
    • Mojo
    • 68 Metascore
    • 40 Critic Score
    Soft Hair's hypnagogic funk and soft-pop mystery is perverse and baffling. [Dec 2016, p.94]
    • Mojo
    • 68 Metascore
    • 80 Critic Score
    Where Kloot's self-titled second had moments of glowing, maximalist production, here the sound is pared back. [May 2005, p.106]
    • Mojo
    • 68 Metascore
    • 80 Critic Score
    A sweaty, dirty cellarful of noise. [Feb 2007, p.102]
    • Mojo
    • 68 Metascore
    • 80 Critic Score
    The full-tilt, punk-like intensity manifested on the band's first two long players is further honed and sharpened. [Aug 2009, p.109]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    An over proliferation of fluffy beats and soaring strings may have you hankering for something tougher. [Jul 2015, p.91]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    The first seven tracks are wonderfully lush and mellow, but loses its way on the closing two-song suite, War/Peace. [Feb 2016, p.96]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    A Henry Rollins cameo in the title track is tantalising: were he a constant presence, this set would really spark. [Nov 2016, p.96]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    At their best melodically, Artificial lopes on Pornography-era Cure beats to a rousing Interpol angst chorus. Further on through, the various '82-91 moves become too familiar and the mood of despond too oppressive. [Apr 2018, p.95]
    • Mojo
    • 68 Metascore
    • 80 Critic Score
    Joy Division, Suicide and JAMC collide for a post-punk racket: ear-splitting and sublimely desolate. [May 2018, p.98]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    Reassuringly autumnal, it drifts by with the grace of a soaring kite. [Jun 2018, p.88]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    She's an adept songwriter and lyricist, but the album's immutable modern poo production can start to pale. [Feb 2019, p.93]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    Strawbs are clearly not intent on coasting. [Apr 2021, p.81]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    =1
    “Don’t mind me… I’m a lazy sod,” sings Ian Gillan. Other daft lyrics such as “Mother nature’s keeping her socks on” support his confession, but Deep Purple’s indomitable frontman remains in fine voice and, musically at least, they sound reborn here. [Aug 2024, p.81]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    Her alternately husky and tremulous Dolly Parton timbre weaves through a yacht rock/mid-'80s Fleetwood Mac hybrid (Spirit), a Eurovision-worthy almost power-ballad (Right Now) and the quasi-disco, gospel-edged shuffler Baby. [Apr 2025, p.80]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    Cobb as a blockbuster album in him, but not quite yet. [Aug 2025, p.79]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    Gravity the Seducer aims to be the great leap forward but still falls a little short. [Oct 2011, p.98]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    It's full-bodied baroque. [Oct 2008, p.109]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    It's over-reliance on Nine Inch Nails atmospherics and Boots's far from distinctive Bowie-lite croon could benefit from further tweaking. [Dec 2015, p.92]
    • Mojo
    • 68 Metascore
    • 80 Critic Score
    The blueprint's not rewritten, but Something From Nothing and The Feast & The Famine dose the Foos format with steroids, while Grohl's earnest delivery redeems the occasional detour into cliche. [Dec 2014, p.89]
    • Mojo
    • 68 Metascore
    • 80 Critic Score
    Tankian has created a forward-thinking album that swerves convention. [Dec 2007, p.98]
    • Mojo
    • 68 Metascore
    • 80 Critic Score
    Simply played, gently sung, graceful, literate, folk rock. [Apr 2006, p.98]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    In the end you're left with a creeping sense of missed chances, made more painful by the fact the Babyshambles have so obviously raised their game. [Oct 2007, p.88]
    • Mojo
    • 68 Metascore
    • 80 Critic Score
    A record that twinkles with a smart electronic pop sheen. [Feb 2014, p.97]
    • Mojo
    • 68 Metascore
    • 60 Critic Score
    There's some fight in Hard Habit To Break's elastic boxing-ring bravado, or the ambiguous needling bleep of Doing It To Death, but behind the pair's rangy insouciance lies a hollowness that, this time round, doesn't entirely convince as a deliberate artistic position. [Jul 2016, p.92]
    • Mojo