Mojo's Scores

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For 10,495 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:
  1. Positive: 6,850 out of 10495
  2. Mixed: 3,611 out of 10495
  3. Negative: 34 out of 10495
10495 music reviews
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    • 59 Metascore
    • 70 Critic Score
    First of the Microbe Hunters
    The 'Lab's fondness for Latin exotica pushes the music well clear of egghead tedium.
    • 66 Metascore
    • 60 Critic Score
    nyc ghosts & flowers
    In the end, it's surprisingly worth it for the few great, strange tracks.
    • 66 Metascore
    • 50 Critic Score
    Beautiful Creature
    Gentle, reflective, angsty girl'n'guitar fodder that's often more worthy than interesting. [July 2000, p.104]
    • 35 Metascore
    • 30 Critic Score
    Juliana's Pony: Total System Failure
    Sadly sterile...
    • 76 Metascore
    • 70 Critic Score
    Volume 1
    Echoboy nonchalantly pits twittering electronica and filmic ambiences against garage guitar riffing and sugary Europop: the result is an unpredictable 45-minute journey in sound. And it's an alluring trip for the most part.
    • 72 Metascore
    • 70 Critic Score
    Dusty Trails
    Wiggs and Trimble do a fantastic job recreating the feel of classic soundtracks of the '60s and '70s... The only shame is that it runs out of steam a little towards the end.
    • 67 Metascore
    • 60 Critic Score
    The Geometrid
    A souffle-light concoction of tape loops, odd samples, and fey vocals. [July 2000, p.118]
    • Mojo
    • 86 Metascore
    • 80 Critic Score
    All Hands On The Bad One
    With simple surf beats and a lyrical bent that takes in everything from ladymen to male models, All Hands... is mostly playful (You're No Rock & Roll Fun) with a touch of pathos (Was It A Lie), but not a bad one in sight.
    • 89 Metascore
    • 90 Critic Score
    Bachelor No. 2 (or, the last remains of the dodo)
    Choosing favourites is almost futile with so much scintillating brilliance on offer.
    • 66 Metascore
    • 80 Critic Score
    White Pepper
    Top-notch whiteboy radio rock with an eerie inner glow of Manson family sunshine...
    • 90 Metascore
    • 80 Critic Score
    XTRMNTR
    If there's one complaint about Exterminator, apart from Bobby's rubbish rapping on Pills, it's that much of it feels like reworked outtakes from Vanishing Point.
    • 73 Metascore
    • 80 Critic Score
    Silver & Gold
    A mellow, tender, easy album...
    • 82 Metascore
    • 80 Critic Score
    Discovery of a World Inside the Moone
    Though the shadows of Wilson and Lennon/McCartney loom large over this latest psyche-pop platter, the Apples tap into a tradition of classic pop songwriting rather than merely plagiarising their ancestors.
    • 81 Metascore
    • 80 Critic Score
    The Noise Made By People
    Imagine the Bronte sisters trying to play Yo La Tengo music on Air's instruments with Joe Meek producing.
    • 81 Metascore
    • 90 Critic Score
    Figure 8
    This relentlessly engaging album hangs together even better than its illustrious predecessor.
    • 83 Metascore
    • 90 Critic Score
    Come to Where I'm From
    Though the production isn't listener-friendly and the lyrics can be lovelorn in excelsis, Arthur's strong melodies and arresting imagery always win through.
    • 69 Metascore
    • 60 Critic Score
    Ecstasy
    Ecstasy is definitely a Lou Reed record for Lou Reed fans. If you're a happy regular shopper at Lou's Boutique, this one'll fit nicely on the shelf alongside all the others.
    • 73 Metascore
    • 70 Critic Score
    Gung Ho
    Smith's third album since her mid-'90s comeback, might be a more orderly affair than one might have hoped for, but she's still capable of wreaking a little havoc.
    • 81 Metascore
    • 90 Critic Score
    The Covers Record
    Here, backed only by guitar or piano, she inhabits other singers' material (including Smog's "Red Apples") with a fierce conviction that's often startling.
    • 75 Metascore
    • 80 Critic Score
    NakedSelf
    The winnowing, soul-pop sheen of the hit-yielding Soul Mining and Infected is long gone, replaced by an overall grungey, corrosive edge which indicates that Johnson bought up every last piece of analogue gear in town.
    • 66 Metascore
    • 50 Critic Score
    MACHINA/the machines of God
    Though never dragging its feet, it rarely stretches its creative muscles.
    • 77 Metascore
    • 80 Critic Score
    Two Against Nature
    Sharp, sleek, sophisticated, more going on (jazzy horns, juicy backing vocals, switchblade rock guitar) than a couple of spins can take in and seductive enough to keep drawing you back.
    • 62 Metascore
    • 60 Critic Score
    Pieces In A Modern Style
    His pieces are mostly drawn from moderns such as Cage, Gorecki, Barber, Satie and Ravel, and work best when mined for their luxuriant melancholy...
    • 83 Metascore
    • 90 Critic Score
    And Then Nothing Turned Itself Inside-Out
    A beautiful, fragile, record that demands your full attention, then pays back dividends.
    • 69 Metascore
    • 90 Critic Score
    Bloodflowers
    This is classic Cure. Three listens and you'll love it.
    • 84 Metascore
    • 90 Critic Score
    Nixon
    The most fully realised Lambchop record, the most perfect blend yet of their alt country roots and their obsession with soul.
    • 74 Metascore
    • 80 Critic Score
    The Night
    Sandman spent two years in his home studio experimenting with the band's dark, often minimalist sound and the result is this lusher, more fully realised album, whose brooding, narcotic Len-Cohen-goes-jazz title track is followed by songs that are variously cool, unsettling, sensual, personal and party-time funky.
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