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
    • 58 Metascore
    • 60 Critic Score
    Polished and platitude-laden but hugely effective. [May 2015, p.100]
    • Mojo
    • 71 Metascore
    • 60 Critic Score
    Mostly it rocks. [May 2015, p.99]
    • Mojo
    • 87 Metascore
    • 80 Critic Score
    There's a sense in almost all the songs of open roads, either beckoning or closed in, or both. [May 2015, p.99]
    • Mojo
    • 78 Metascore
    • 60 Critic Score
    There was much brooding menace and acoustic industrial, and things have not developed significantly. [May 2015, p.99]
    • Mojo
    • 89 Metascore
    • 80 Critic Score
    Even if purists find the whole baroque confection too much, they will have to admit there's never been a record quite like this. [May 2015, p.99]
    • Mojo
    • 84 Metascore
    • 80 Critic Score
    If the album has a fault, it's in sequencing, with some of stronger moments low in the pecking order. [May 2015, p.99]
    • Mojo
    • 56 Metascore
    • 40 Critic Score
    A record, which, though obviously heartfelt, never sounds unified. [May 2015, p.98]
    • Mojo
    • 83 Metascore
    • 80 Critic Score
    Hinterland feels less like the spirit of the dance floor and much more like the crush of a weaponed march. [May 2015, p.98]
    • Mojo
    • 84 Metascore
    • 80 Critic Score
    An album whose wider appeal reaches for powerpop nirvana. [May 2015, p.98]
    • Mojo
    • 76 Metascore
    • 80 Critic Score
    The razor-wire riffs some of their best. [May 2015, p.98]
    • Mojo
    • 72 Metascore
    • 80 Critic Score
    Hallelujah, melodies and lyrics are not just sensitive but sharp and witty, glittering with a dazzle reminiscent of Britpop at its deftest. [May 2015, p.96]
    • Mojo
    • 79 Metascore
    • 80 Critic Score
    The whole thing carves out and inhabits a persuasively exotic world of echo that invites total immersion. [May 2015, p.97]
    • Mojo
    • 82 Metascore
    • 80 Critic Score
    Sauna becomes a transitional journey of self-surrender, Elverum's soft-sung imagist perceptions slowly reaching toward a quiet, meditative transcendence. [May 2015, p.96]
    • Mojo
    • 79 Metascore
    • 80 Critic Score
    Witty, tender pieces to charm even those for who wrestling means Shirley Crabtree. [May 2015, p.100]
    • Mojo
    • 78 Metascore
    • 60 Critic Score
    Edge Of The Sun offers no real surprises, but it is perhaps their poppiest set yet. [May 2015, p.99]
    • Mojo
    • 62 Metascore
    • 80 Critic Score
    Living Fields is no instant hit, but the twilight world you're eventually drawn into is difficult to leave. [May 2015, p.98]
    • Mojo
    • 75 Metascore
    • 60 Critic Score
    If nothing here quite reaches the hook-laden heights of Outdoor Miner or Kidney Bingos, there are plenty of sunlit avant-pop uplands. [May 2015, p.97]
    • Mojo
    • 85 Metascore
    • 80 Critic Score
    It's Bronxie's heart, soul and natural world-inspired epiphanies that charm most. [May 2015, p.96]
    • Mojo
    • 81 Metascore
    • 80 Critic Score
    Tripp is a complicated, slow-burning wonder that matches Cerulean Salt for fuzzy, bed-headed zingers but adds several layers of regret and self doubt and is all the more rewarding for that. [May 2015, p.95]
    • Mojo
    • 83 Metascore
    • 80 Critic Score
    They lurch between plaid-smothered unresolved chords and frontwoman Sadie Dupuis's verbose story-telling, delivered deadpan a la early Liz Phair. [May 2015, p.95]
    • Mojo
    • 75 Metascore
    • 80 Critic Score
    Here technology is merely a vessel for a sound that remains pastoral and beguiling. Truly, a class act. [May 2015, p.95]
    • Mojo
    • 78 Metascore
    • 60 Critic Score
    Their second outing makes no effort to remap their coordinates: they remain riffy, distorted, full of nocturnal energy, possessed of rollicking good tunes, but also open up a more expansive goth-rock strain on indie-radio cuts. [May 2015, p.94]
    • Mojo
    • 74 Metascore
    • 60 Critic Score
    The fourth LP is blisteringly confident as the band evolves toward maturity. [May 2015, p.94]
    • Mojo
    • 72 Metascore
    • 80 Critic Score
    Amid the jagged funk-offs, a synthesized steel band and the odd keyboard etude colour a strong debut. [May 2015, p.94]
    • Mojo
    • 71 Metascore
    • 60 Critic Score
    Her second album doesn't up the merriment ante much. [May 2015, p.93]
    • Mojo
    • 78 Metascore
    • 80 Critic Score
    East India Youth has barely tinkered with the formula for his second full-length--a good thing. [May 2015, p.93]
    • Mojo
    • 57 Metascore
    • 60 Critic Score
    Tellingly, Al Jardine and David Marks return here, their harmonies shining in the gorgeously dreamy Whatever Happened. [May 2015, p.93]
    • Mojo
    • 76 Metascore
    • 60 Critic Score
    It is no ragbag collection, even if several tunes are little more than snippets. [May 2015, p.92]
    • Mojo
    • 72 Metascore
    • 80 Critic Score
    The album is a retroactive joy from start to finish. [May 2015, p.92]
    • Mojo
    • 83 Metascore
    • 80 Critic Score
    White Men Are Black Men Too places Young Fathers firmly alongside Suede, Dizzee Rascal and Arctic Monkeys in the pantheon of those whose post-Mercury follow-ups confirm they know exactly where they're going and aren't going to let winning a modest prize distract them. [May 2015, p.88]
    • Mojo