New Musical Express (NME)'s Scores

  • Music
Select another publication »
For 6,302 reviews, this publication has graded:
  • 55% higher than the average critic
  • 4% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 1.6 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 Whatever People Say I Am, That's What I'm Not
Lowest review score: 0 Maroon
Score distribution:
  1. Positive: 4,469 out of 6302
  2. Mixed: 1,680 out of 6302
  3. Negative: 153 out of 6302
6302 music reviews
view
per page
    • 74 Metascore
    • 70 Critic Score
    Shields: B-Sides
    While the Nicolas Jaar, Liars and Lindstrøm remixes add synthetic space to ‘Sleeping Ute’, ‘A Simple Answer’ and a Daft-ly disco ‘Gun-Shy’ respectively, it’s the fragile new tracks ‘Smothering Green’ (a muted, modernist Cole Porter clatter), ‘Taken Down’ (falsetto Fleet Foxes) and the two versions of ‘Everyone I Know’ (one churchy, one space-jazz meltdown renamed ‘Will Calls (Marfa Demo)’) that are the real treasures here.
    • 74 Metascore
    • 60 Critic Score
    Everything Sucks
    There are moments of brilliance on both records. ... Thematically, ‘Everything Sucks’ and ‘Everything is Beautiful’ fail to deliver anything new.
    • 74 Metascore
    • 80 Critic Score
    Awoo
    An excellent third album. [23 Sep 2006, p.31]
    • New Musical Express (NME)
    • 74 Metascore
    • 70 Critic Score
    Crush
    This is technically the fourth full-length they've released, and it seems AV don't quite reinvent themselves under pressure so much as contort themselves into bigger, better and weirder ways to take everybody's ears on a massive tangent.
    • 74 Metascore
    • 70 Critic Score
    Hold It In
    They normally strike a few bullseyes per record though, and so it is with Hold It In.
    • 74 Metascore
    • 70 Critic Score
    Kings & Queens
    Where he once seemed like a busking Rodney Trotter, he’s now left the loser affectations behind and is more like Del Boy, a man aiming for bigger and better things and becoming a national institution in the process. Lovely jubbly.
    • 74 Metascore
    • 70 Critic Score
    As Is Now
    Truly, Weller's back. And this time, he rules.
    • 74 Metascore
    • 80 Critic Score
    Sees the Light
    Stripped of her day-to-day outfit Vivian Girls' fence of lo-fi fuzz, Katy Goodman's faultless way with Technicolor pop melodies blazes through La Sera's second album.
    • 74 Metascore
    • 80 Critic Score
    EVENIFUDONTBELIEVE
    It is thrilling, weird, danceable, frequently inspired and Day-Glo to a fault.
    • 74 Metascore
    • 80 Critic Score
    Pretty In Black
    Just as their previous fetish for deep distortion and a limited set of chords did, pink-hued noir here can prove to be something of an acquired taste. However, it never sinks into unintentional parody, earning it the acclaim of sounding like nothing else currently out there.
    • 74 Metascore
    • 80 Critic Score
    Good Thing
    While he shouldn’t have to answer all his critics, Bridges does so on ‘Good Thing’ with remarkable aplomb. If he was indeed once a rehash of the past, this time he can’t be tied to one specific time, past or present.
    • 74 Metascore
    • 60 Critic Score
    Heretic Pride
    This is business as usual: string-laced Americana that ranks alongside other literate types such as The Shins or Midlake.
    • 74 Metascore
    • 90 Critic Score
    Discovery
    Daft Punk have pulled off a brilliant wheeze by re-inventing the mid-'80s as the coolest pop era ever. And not even the officially approved retro-kitsch cool of Madonna's lukewarm excursions into post-Daft terrain but all the bubble-permed, sports-jacket-and-jeans excesses they can muster.... Mostly, though, 'Discovery' is simply fantastic pop...
    • 74 Metascore
    • 60 Critic Score
    Telas
    It’s not something you’ll be hankering to press play on repeatedly. Not that it’s bad music: excuse the pretension, but it really is an experience; one that would lend itself better to accompanying Jaar’s physical art installations than a standard album listen.
    • 74 Metascore
    • 80 Critic Score
    Again into Eyes
    S.C.U.M may still have a way to go before they truly master their references and get a handle on their lofty metaphors, but their debut is a hymn to maturation.
    • 74 Metascore
    • 70 Critic Score
    Your Favorite Toy
    ‘Your Favorite Toy’ is a few more tracks of that depth away from being the most vital Foo Fighters record since 1997’s ‘The Colour and the Shape’. For now, at least, they have remembered that no-frills punk, played fast and loud, suits them much better than middle-of-the-road dad-rock.
    • 74 Metascore
    • 80 Critic Score
    The Atlantic Ocean
    In this brilliant new time of directional change, the piano-led analogue boy is practically smiling his words out on the Mark Ronson-produced 'Ballad Of Old What's His Name'.
    • 74 Metascore
    • 90 Critic Score
    Make Up The Breakdown
    Despite all this seemingly new wave-laden, impeccably cool, retrograde influence, 'Make Up The Break Down' is indisputably now.
    • 74 Metascore
    • 70 Critic Score
    Chat & Business
    Put it this way - if you don't loathe the likes of Starsailor and Travis with every fibre of your being then there's absolutely no fucking chance whatsobleedingever that you'll like Ikara Colt.
    • 74 Metascore
    • 80 Critic Score
    Deftones
    A modern, commercially-viable, carefully crafted rock record that also sounds violent, deranged and desperately, incurably sad all at the same time.
    • 74 Metascore
    • 90 Critic Score
    Let's Get Ready
    Let's Get Ready', Mystikal's fourth LP and his first Billboard chart-topper, is one wholesale fighting muthaf**ker, a full theatre of opportunities to offer the world outside. Women? Mystikal will take you down for one. Or, preferably, two. Reputation? Come see about him. Neighbourhood? You don't wanna go there... Mystikal is the fightingest bastard and his grin's never wider than when he's putting the hurt on.
    • 74 Metascore
    • 70 Critic Score
    Meatbodies
    His default mode--brisk canters with elements of beefed-up psychedelia and proto-punk--can be a little samey, but deviations occur, see the bludgeoning folk of ‘Dark Road’.
    • 74 Metascore
    • 80 Critic Score
    Challengers
    Their fourth album is a staggering masterclass in indie-pop songwriting that will make your brain melt and send firecrackers around your heart.
    • 74 Metascore
    • 80 Critic Score
    Armonico Hewa
    Bracing brilliance channelling the spirit of Yoko Ono, Le Tigre, Aphex Twin and Alice Coltrane.
    • 74 Metascore
    • 80 Critic Score
    No One Dances Quite Like My Brothers
    Not since The Cure’s ‘Faith’ has a group pulled off such a feat of heavy, heady melancholy.
    • 74 Metascore
    • 70 Critic Score
    Rave On Buddy Holly
    A few of the songs stick too closely to the originals, going to show that it's best to do something daft and unexpected rather than just trace the lines of greatness. You can't improve on perfection, but you can certainly play around with it.
    • 74 Metascore
    • 70 Critic Score
    Tough Love
    Twinkly epic 'Cruel' is especially outstanding, while collaborations with Dev Hynes (‘Want Your Feeling’) and Miguel (‘Kind Of… Sometimes… Maybe’) save the latter half from drifting too far into languid MOR ballad territory.
    • 74 Metascore
    • 50 Critic Score
    Equatorial Ultravox
    Equatorial Ultravox is undeniably lovely, and the title describes the vaguely early '80s Mediterranean synth vibe pretty well. It's just not exactly essential listening.
    • 74 Metascore
    • 70 Critic Score
    Black Boulder
    It navigates a contemporary confluence of influences with such wit, intelligence and passion that (certainly if you like Joy O or Zomby) you will just simply love it.
    • 74 Metascore
    • 70 Critic Score
    Long Distance Song Effects
    The quintet deliver a sincere emotional punch.
Page: