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For 6,233 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: 4,731 out of 6233
  2. Mixed: 1,460 out of 6233
  3. Negative: 42 out of 6233
6233 music reviews
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    • 86 Metascore
    • 70 Critic Score
    Process
    It’s a comforting record, but one you wish was a little more abrupt in places. Even so, it’s a hugely graceful collection played out with dignity.
    • 68 Metascore
    • 70 Critic Score
    Pink Friday
    It's not everyone who can give Slim Shady a run for his money, but Minaj more than holds her own here, sounding both menacing and cartoon-like and even dropping into an approximation of a cockney accent at one point.
    • 80 Metascore
    • 70 Critic Score
    WITH A VENGEANCE
    With A Vengeance maintains its intensity throughout, and by the time Thru The Nite’s hammering rimshots have died down we’re left with a promising collection of songs from this genre-bending artist.
    • 58 Metascore
    • 70 Critic Score
    Supermodel
    Hook-laced in all the right places, melodic, rhythmic, intelligent, addictive and slightly quirky: they don’t skimp on any of the ingredients here.
    • 75 Metascore
    • 70 Critic Score
    Weather
    It is when the album starts to sound like a Saint Sinner record produced by Tycho that the problems arise, but it remains worth a listen for those who appreciate immaculate soundscapes.
    • 71 Metascore
    • 70 Critic Score
    Wonderful Wonderful
    While Wonderful Wonderful certainly isn’t The Killers’ best record--or even their second best--it is a welcome return to form after some time in the wilderness.
    • 75 Metascore
    • 70 Critic Score
    We Knew It Was Not Going to Be Like This
    The album’s sense of propulsion is so strong even the weaker tracks don’t drag at all.
    • 79 Metascore
    • 70 Critic Score
    Pressure Machine
    Pressure Machine is a decent attempt at a concept album of sorts. Some mountainous peaks would take it to the next level; without them it feels as though it could soon, somewhat disappointingly, disappear.
    • 67 Metascore
    • 70 Critic Score
    Real Life
    As debuts go, this is fairly solid stuff, but it’s hard not to feel that Real Life should be so much more than the sum of its parts.
    • 75 Metascore
    • 70 Critic Score
    Rock or Bust
    You might feel like you’ve heard it all before, and you probably have, but it’ll still rock.
    • 74 Metascore
    • 70 Critic Score
    Wondrous Bughouse
    The density of its production and the slipperiness of its song structures ensures that this album isn’t for everyone. But for those with a high tolerance for psychedelic whimsy and the time to invest in repeated listens, Wondrous Bughouse offers ample pleasures.
    • 72 Metascore
    • 70 Critic Score
    MCIII
    MCIII might fail to live up to its billing as concept album, but it absolutely doesn’t fail to provide a steady stream of big-hearted guitar-pop songs.
    • 74 Metascore
    • 70 Critic Score
    No One Dances Quite Like My Brothers
    Vår manage to save a plodding midsection with tracks like the creepy, droney and dark Boy, proving they’re jacks of multiple trades.
    • 75 Metascore
    • 70 Critic Score
    Origin
    There is a notable step forward, turning more towards a traditional soul style at the album’s core. There is a more natural groove, and the piano steps in more to complement the voice, even if this does sometimes lead to congestion on the instrumental side.
    • 75 Metascore
    • 70 Critic Score
    Choir of the Mind
    In truth, the only weakness to Choir Of The Mind is its length – at 13 tracks and clocking in at just under an hour, it’s a long time to spend with an album that’s so resolutely downbeat. Yet there’s a lot to admire with Haines’ second solo effort (not least the quality of her production) and it makes a decent calm counterpoint to the swirling storm of Metric.
    • 69 Metascore
    • 70 Critic Score
    Barfly
    While it doesn't quite account for the storied legend of the band behind it (these guys wrote Sonic Reducer, Ain't It Fun, and Final Solution, after all), Barfly is an album that sounds immediately important.
    • 78 Metascore
    • 70 Critic Score
    To Believe
    To Believe is a worthy return for The Cinematic Orchestra, developing their sound while keeping the trademark fusion between electronic and orchestral that Swinscoe and co. do so well.
    • 65 Metascore
    • 70 Critic Score
    Megaplex
    It’s probably their most ambitious effort since Brain Thrust Mastery, delivering a sprawling and colourful collection of pop songs which are sure to leave a smile on your face.
    • 74 Metascore
    • 70 Critic Score
    Eagulls
    It’s a great release by one of the UK’s most promising bands, and lays down a foundation for them to build on being melodious and aggressive.
    • 71 Metascore
    • 70 Critic Score
    True Romance
    We're not reviewing the single, rather the accompanying album, which after all that promise is something of a minor let down.
    • 69 Metascore
    • 70 Critic Score
    Holy Ghost!
    It's a competent disco celebration of an album, but Holy Ghost! will need to dig a little deeper into their souls and diversify their influences to make more of a mark in the long run.
    • 83 Metascore
    • 70 Critic Score
    Furling
    Furling is a collection that rewards repeat listens to allow it to fully embed into the consciousness but once it does its soft, rarefied treasure has much to offer.
    • 72 Metascore
    • 70 Critic Score
    Pink Graffiti
    Sometimes it feels a little one-paced and, on the first few listens, disinterest is but a stone's throw away. Luckily for Secret Cities though, the more listens the album gets, the more enjoyable it becomes.
    • 85 Metascore
    • 70 Critic Score
    Bonxie
    Bonxie doesn’t contain too many surprises, and it doesn’t really have many answers to the bigger questions, but it does have a number of brilliantly written songs.
    • 71 Metascore
    • 70 Critic Score
    Beware and Be Grateful
    Maps & Atlases have produced an album with some real bite. It's a collection of tracks that needs proper digestion in order to pick through the intricate layering and amalgam of styles that mix the band's longstanding math influences with a clear inclination towards African rhythms.
    • 71 Metascore
    • 70 Critic Score
    Concrete and Glass
    Concrete And Glass is a fine piece of architecture, typically classy and emotive while providing some very necessary warmth and light for the January darkness. We may well pine for something new from Air, but in their absence this will do very nicely indeed.
    • 69 Metascore
    • 70 Critic Score
    Forcefield
    It’s a goldmine of catchy power pop, with the odd misstep, but anyone claiming to find little here in the way of feel good factor is likely to be deaf, ignorant or just sitting within their own sound-proof forcefield.
    • 78 Metascore
    • 70 Critic Score
    Time's Arrow
    The band have fully reasserted themselves, taking equal parts past and future to make a record that fits the present day like a glove. Twenty years in and the fires are still burning brightly.
    • 77 Metascore
    • 70 Critic Score
    FurFour
    Furfour is not an album that will change the world. Tracks come and go leaving only occasional ear worming melodies and are largely bereft of sing along moments. It is, however, quite possibly the most interesting listen you’re likely to get all year as each play will reveal something you didn’t catch before and for that reason alone, it’s one that needs to be heard over and over.
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