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For 6,232 reviews, this publication has graded:
  • 61% higher than the average critic
  • 4% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 0.8 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 Prioritise Pleasure
Lowest review score: 0 Fortune
Score distribution:
  1. Positive: 4,730 out of 6232
  2. Mixed: 1,460 out of 6232
  3. Negative: 42 out of 6232
6232 music reviews
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    • 76 Metascore
    • 70 Critic Score
    Norwegian Wood [Original Soundtrack]
    Though it has become something of a tired old format in much incidental music for the moving image, Greenwood shows how the string orchestra remains a descriptive force in the right hands.
    • 79 Metascore
    • 70 Critic Score
    Could It Be Different?
    At just 34 minutes, Could It Be Different? rarely takes a breath, propelling us forward, dancing and laughing, towards whatever comes next.
    • 71 Metascore
    • 70 Critic Score
    After the Disco
    The temptation to skip back to the start will probably creep in after a few plays, but stick with it and further, less immediate treasures will be revealed.
    • 75 Metascore
    • 70 Critic Score
    Gene
    This is an intriguing record whose rewards come slowly but which leave a lasting impression. There is a restless quality to Sam Eastgate’s songwriting that feels very much of the times in which we live, but there is a warmly soulful side to balance it.
    • 77 Metascore
    • 70 Critic Score
    Black Rat
    The overwhelming feeling at the end of Black Rat is that this is a band with a lot more up their sleeve.
    • 60 Metascore
    • 70 Critic Score
    Listen
    New drummer Alexis Nunez adds a percussive edge, but much credit must go to hip-hop co-producer Inflo for this fresh lease of life.
    • 75 Metascore
    • 70 Critic Score
    Acid Tongue
    It's not the most instantly winning of albums, but its rewards become evident after repeated listens, its subtleties revealing themselves like an unfolding paper fan.
    • 70 Metascore
    • 70 Critic Score
    Mysteries
    It will take a few spins to fully appreciate it--the songs are not always compelling in the way that they should be--but there’s plenty of proof that they have uncovered a bit more depth, both musically and lyrically.
    • 77 Metascore
    • 70 Critic Score
    The Chaos
    Seven years after their first release, they've gone from being That Band Who Did The Kate Bush Cover to a genre of their very own, with a thousand identikit wannabes, and The Chaos is the cherry on top of their spiky, raucous, post punk cake.
    • 66 Metascore
    • 70 Critic Score
    The Album
    We are left with an album that has several great tracks, but whose filler and repetitive subject matter prevent the Jonas Brothers from realising their full-grown potential.
    • 75 Metascore
    • 70 Critic Score
    Kurr
    Kurr's claustrophobic sound causes a restless reaction. For all its fragile beauty, it's at its best in small chunks.
    • 78 Metascore
    • 70 Critic Score
    Anxiety
    While Ashin is clearly a major talent, he just needs to dial it down from time to time if he’s to deliver a wholly satisfying record.
    • 74 Metascore
    • 70 Critic Score
    Tales from the Barrel House
    Tales From Barrel House is by no means without flaw, it's too untameable for that--but when it shines at its brightest, it is every bit as alive as the people and lands it attempts to portray.
    • 54 Metascore
    • 70 Critic Score
    III
    While the album does tail off slightly towards the end, III is for the most part a solid comeback for Shiny Toy Guns.
    • 61 Metascore
    • 70 Critic Score
    Little Victories
    Even if their musical influences are still heavily apparent, at least Little Victories shows the band writing all their own songs with growing assurance.
    • 75 Metascore
    • 70 Critic Score
    Fabula Mendax
    It’s an album that stands up on its own and remains, musically at least, a positive, upbeat and highly enjoyable album.
    • 80 Metascore
    • 70 Critic Score
    No One Wants To Be Here and No One Wants To Leave
    Whilst not perfect, Nobody Wants To Be Here And Nobody Wants To Leave is, as the cliché goes, a return to form and the album of a band that has rediscovered what they’re good at.
    • 71 Metascore
    • 70 Critic Score
    Gumption
    Relaxed but restless. It’s a powerful combination for a successful début--and as Miller is still in her early twenties, greater life experience can only enhance her musical vision.
    • 80 Metascore
    • 70 Critic Score
    On the Water
    The concept is realised for the most part, and while some more variety in the 'musical memories' might have been nice (along with a little more length), there's not much to knock in a cracking example of that rare phenomenon--listenable concept art.
    • 71 Metascore
    • 70 Critic Score
    Th1rt3en
    It is something of a slow burner, and familiarity with their back catalogue will certainly add depth to the whole experience, but those who come to it cold will find the immediacy and vigour of the likes of Public Enemy No. 1 irresistible.
    • 78 Metascore
    • 70 Critic Score
    Arc Iris
    The 11 tracks are in fact roughly split between the folk/country side and the jazz/cabaret side, and this makes for an album that can at times dazzle with its omnivorous verve, but which also has a tendency to become disjointed.
    • 80 Metascore
    • 70 Critic Score
    Salt River
    It probably won’t be for everyone – what one person may find mesmerising and hypnotic, another may quickly find repetitive. Salt River is never dull though, despite its slightly narcotic haze.
    • 76 Metascore
    • 70 Critic Score
    Orkney: Symphony of the Magnetic North
    This isn't an album of standout moments though per se; rather it's a record to be enjoyed as a whole. The true worth of each track is found in listening to them in order start to finish.
    • 71 Metascore
    • 70 Critic Score
    Earth To Dora
    Earth To Dora finds him in a relatively peaceful place – and it will have a similarly calming effect on Eels fans too. More than 20 years on, this band are still very good at what they do.
    • 71 Metascore
    • 70 Critic Score
    The Diving Board
    The rich history which The Diving Board draws on also slightly undermines it: there is certainly nothing bad here yet so much of it has been done by Elton before.
    • 84 Metascore
    • 70 Critic Score
    Unlearning
    For some the relentless artificiality of this album will make it hard going, and is likely that Walt Disco will make better records, but as a debut this is assured, individual, and liable to incite a thousand arguments about teenage clothing choices. Like all the best pop music.
    • 62 Metascore
    • 70 Critic Score
    Tomorrow's World
    Tomorrow's World appeals to fans of Erasure's later albums just as much as it appeases those who swooned along to A Little Respect in 1988.
    • 70 Metascore
    • 70 Critic Score
    Further
    While Further ironically does little to further The Chemical Brothers' sound, they have once again produced a strong and sturdy album of high quality electronic music that still leaves many of their peers sounding one dimensional and unexciting.
    • 81 Metascore
    • 70 Critic Score
    Cold Spring Fault Less Youth
    Cold Spring Fault Less Youth is an album that’s as purposefully awkward as its title: cleverly put together, but occasionally just not very much fun.
    • 72 Metascore
    • 70 Critic Score
    Free
    Free is not as lyrically emotionally resonating as Blackstar but it evokes similar feelings. The reason that it doesn’t fully pack the same punch is that there is a sense that he cannot fully commit. It is a solid album, but just leaves you wondering slightly what could have been.
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