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For 6,231 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: 4,729 out of 6231
  2. Mixed: 1,460 out of 6231
  3. Negative: 42 out of 6231
6231 music reviews
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    • 66 Metascore
    • 60 Critic Score
    The Most Incredible Thing
    For the tale is only partially told here - which, when you compare The Most Incredible Thing perhaps unfavourably to the great ballets of the 19th or 20th centuries, is the one thing most obviously lacking. For now we should admire the abilities of Tennant and Lowe to move from structures of four minutes to those of an hour and a half, and hope this encourages them to continue in a form in which they have made a very listenable start.
    • 66 Metascore
    • 60 Critic Score
    Bruiser
    It's certainly not a bad album, and pleasing enough while it plays, but it has no standout moment that demands further listening.
    • 66 Metascore
    • 70 Critic Score
    Imposter
    Dave Gahan’s emotional input is never in doubt, but despite some excellent production – and fine backing vocals – it is kept at a distance at times. Seen live, however, this set should be quite an experience.
    • 66 Metascore
    • 80 Critic Score
    The Slideshow Effect
    Blends much that has gone before, and serves up a freshly defined new act that has potential for popular success.
    • 66 Metascore
    • 60 Critic Score
    Acoustic at the Ryman [Live]
    The record is undoubtedly an enjoyable, comforting listen, one that provides an interesting trawl through Band Of Horses’ back catalogue. It is, however, unlikely to appeal to anyone who is not already a fan.
    • 66 Metascore
    • 60 Critic Score
    Right On!
    In its best moments, Right On! is a dark, bewitching début that is bound to appeal to fans of Warpaint. Too often, though, its formulas are repeated and sketches left uncoloured to cumulatively less engaging effect.
    • 66 Metascore
    • 60 Critic Score
    Wait 'Til Night
    Wait Til Night, sometimes to its credit, but perhaps overall to its detriment, feels more like a brighter, more straightforward, R&B inspired set.
    • 66 Metascore
    • 50 Critic Score
    Joyride
    Tinashe draws on her R&B influences to greater effect with the sensual, Dilemma-sampling Ooh La La, and No Contest is another highlight, but overall Joyride does not deliver on its potential.
    • 66 Metascore
    • 80 Critic Score
    Taiga
    It is without doubt Zola Jesus’ most heartfelt utterance to date, the emotion coming from her very bones--a case where you really can see the wood for the trees.
    • 66 Metascore
    • 60 Critic Score
    Blood From A Stone
    This is a fairly straightforward rock record, to some degree, and its simplicity takes away from those moments in which Hukkelberg thrives.
    • 66 Metascore
    • 70 Critic Score
    Images Rolling
    With Images Rolling he has made an intriguing and, at times, inventive step up from his previous work.
    • 66 Metascore
    • 50 Critic Score
    Heaven Before All Hell Breaks Loose
    He delivers an LP of soulful songs with the help of songwriters who have also written for Ellie Goulding and Ed Sheeran. The result is a mixed bag.
    • 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.
    • 66 Metascore
    • 80 Critic Score
    Go Go Smear The Poison Ivy
    Both foreground and background listening are equally rewarded.
    • 66 Metascore
    • 60 Critic Score
    Two Vines
    Beautifully produced it may be, but Two Vines is essentially an over polished collection of songs with less spontaneity in their composition.
    • 66 Metascore
    • 40 Critic Score
    Kiss Me Once
    She is far, far too good to be fronting songs which sound ‘current’ only in the sense that you can imagine them ending up on Rihanna‘s rejection pile.
    • 66 Metascore
    • 50 Critic Score
    Shapes & Shadows
    In essence Shapes And Shadows sounds unfinished, an album for the sake of notching "solo career" into Ottewell's bedpost, and completely inessential in the grand scheme of things.
    • 66 Metascore
    • 70 Critic Score
    Arrows
    The 10 tracks that make up Arrows will wrap you up, hug you close and tell you stories before placing you back gently, where they left you.
    • 66 Metascore
    • 60 Critic Score
    A Lantern And A Bell
    Overall though, this very welcome comeback from Loney Dear does feel a little too stripped back and one-paced at times, so while it’s certainly an interesting development in style, you are left wishing for a little bit more of the zip and zest of Svanängen’s earlier efforts.
    • 66 Metascore
    • 40 Critic Score
    For Cryin' Out Loud
    Too often on For Cryin’ Out Loud, he plays it far too safe and sounds up sounding like any other pop singer – and, as there’s a lot of competition out there, a bit more daring may be required should Finneas come out of the production/songwriting shadows next time.
    • 66 Metascore
    • 70 Critic Score
    Everything Now
    When it’s good, it’s very, very good--but it’s also flawed. Such is the band’s conviction to capturing their reservations about our on-demand culture, it’s hard not to feel drained by the end.
    • 66 Metascore
    • 90 Critic Score
    Sundark and Riverlight
    He's an outsider and the best thing about this marvellous compilation, however lush the sound and however catchy the melodies, is that it does absolutely nothing to change that.
    • 66 Metascore
    • 70 Critic Score
    Ready to Die
    It is much stronger than their previous disappointing album The Weirdness (2007), and at times even recalls their creative heyday in the late ’60s and early ’70s.
    • 66 Metascore
    • 60 Critic Score
    Eskmo
    Put this album on in the background and the chances are it will create a nice chilled atmosphere; but that's it, really. And that's disappointing. There's no denying that Eskmo's construction methods are intriguing, but it lacks coherence.
    • 66 Metascore
    • 40 Critic Score
    American Goldwing
    Plodding rhythms predominate and there's a prevalent sense of nostalgia that sometimes threatens to become a little syrupy, not least because of the numerous cliches about highways or the open road.
    • 66 Metascore
    • 40 Critic Score
    Everything Goes Wrong
    With the beginnings of what could be a cult following over the pond after enviable live support slots that've received much praise, it is a shame that such positivity could not transfer to this recording.
    • 66 Metascore
    • 60 Critic Score
    Dear Miss Lonelyhearts
    While the album does lose some of its focus and direction towards the end, Dear Miss Lonelyhearts is undoubtedly a much better album than Mine Is Yours.
    • 66 Metascore
    • 80 Critic Score
    Ode To J. Smith
    Apparently the band's sixth studio album is their first to be written from electric guitar since their debut Good Feeling, and this shows strongly in the end result.
    • 66 Metascore
    • 50 Critic Score
    Free Yourself Up
    At times it feels like an album with no real purpose other than to be heard and then forgotten. Few tracks jump out as being memorable. A more driven focus upon one element of their sound could have led to a far greater album, or could have at least tested the waters in terms of what they might achieve further down the line.
    • 66 Metascore
    • 80 Critic Score
    Manhattan
    Nothing new, then, but Manhattan is the indie equivalent of a guilty pleasure.
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