New Musical Express (NME)'s Scores

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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
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    • 79 Metascore
    • 70 Critic Score
    First Demo
    The fidelity is satisfyingly chunky, though, and while you’ll find better takes on, say, 1988’s ‘Fugazi’ EP, the previously unreleased ‘Turn Off Your Guns’ perfectly encapsulates their blend of wiry funk and firecracker dynamics.
    • 71 Metascore
    • 70 Critic Score
    Person To Person
    Singer Matt Popieluch transcends his past as Peter Bjorn And John’s bongo player as he helms the hyper-melodic ‘Vacationing People’, while ‘Wait in This Chair’ proves a moving ode to inertia, casting a spell only a televised fashion disaster could break.
    • 71 Metascore
    • 70 Critic Score
    Mississauga Goddam
    It's frustrating, because when they quit mucking about, The Hidden Cameras have the power to produce songs that tickle your heart. [10 Jul 2004, p.49]
    • 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.
    • 54 Metascore
    • 70 Critic Score
    Strength In Numbers
    The positive to come out of this, however, is that on their third album, rather than hollering “YEEEAAHHH” or “WOOOOAAHHH” or “BAAAAYYBEEEEEE” quite a lot over the top of his bandmates’ still-exciting noise, Harvey now has something to sing about.
    • 66 Metascore
    • 70 Critic Score
    Kiss Me Once
    Kiss Me Once proves that after 26 years in the business, Kylie can still pull off a very modern pop album.
    • 66 Metascore
    • 70 Critic Score
    Recordings Of Music For Film
    'Recordings…' might lack the obvious brilliance of his movie making, but it's more than just the dabblings of an enthusiastic amateur.
    • 79 Metascore
    • 70 Critic Score
    Swanlights
    A record of beauty and balance, Swanlights cements Hegarty as the transgender: artsy and challenging enough for the Guardian chin-strokers, but with enough hushed melodic wallop to seduce all-comers.
    • 84 Metascore
    • 70 Critic Score
    Clap Your Hands Say Yeah
    A veritable swoon of a record. [7 Jan 2006, p.28]
    • New Musical Express (NME)
    • 81 Metascore
    • 70 Critic Score
    Armchair Apocrypha
    This album proves that Bird is up there with the kings of US alt.country pop like Lambchop and My Morning Jacket.
    • 73 Metascore
    • 70 Critic Score
    The Teaches of Peaches
    It's ace, like you imagine Madonna would've sounded if the records had matched the raunch of her videos/concerts/multimedia-experiments.
    • 73 Metascore
    • 70 Critic Score
    Careers
    Beverly’s effortless indie rock debut is the result of a casual collaboration between honey-voiced guitarist Drew Citron and her occasional employer, former Dum Dum and Vivian Girl Frankie Rose.
    • 71 Metascore
    • 70 Critic Score
    Embrace
    Sleepy Sun are at their best when they revel in both light and dark, unleashing throatily riffing guitars to disrupt pastoral interludes.
    • 69 Metascore
    • 70 Critic Score
    California Nights
    It’s not a perfect ride.... Cosentino’s honeyed vocal is the only true constant. It’s a radiating sunbeam.
    • 80 Metascore
    • 70 Critic Score
    The Bravest Man in the Universe
    The only problem is that at times, it feels like all parties are a little intimidated by each other, stopping just short of going the whole way with the primal force that the best moments prove Womack is still capable of.
    • 64 Metascore
    • 70 Critic Score
    Crimes of Passion
    An album of washed out, happy-sad, semi-psychedelic sounds that glower as much as they gleam, it’s perfect for those 3am mornings when you’re full of alcohol and regret.
    • 74 Metascore
    • 70 Critic Score
    We Have Sound
    A good debut, if strangely restrained. [2 Apr 2005, p.50]
    • New Musical Express (NME)
    • 79 Metascore
    • 70 Critic Score
    Lost Domain
    It can be a harrowing listen, but Wheeler sugars the anguish with slabs of OMD synthpop on the title track and 10-minute centrepiece ‘Medicine’.
    • 65 Metascore
    • 70 Critic Score
    Gauntlet Hair
    Abe Vigoda, HEALTH and No Age's noise-pop inform the best parts of this fine debut LP, rendering it a swirling headfuck of manic energy mixed with blissed-out melody.
    • 80 Metascore
    • 70 Critic Score
    Final Days
    pite. ‘Sanctuary’ sums up Final Days best, a nine-minute odyssey of guttural vocals, noise and melody.
    • 72 Metascore
    • 70 Critic Score
    Girls And Weather
    It’s Waller’s voice--one that proved too powerful an entity for his former band, Vincent Vincent And The Villains--that stops The Rumble Strips from being mere Dexys copyists.
    • 67 Metascore
    • 70 Critic Score
    Watch Me Dance
    It finds Toddla T cementing an identity as a producer--10 years from now, it might be seen as an important stepping stone to greatness.
    • 85 Metascore
    • 70 Critic Score
    Cole's Corner
    His best yet. [3 Sep 2005, p.74]
    • New Musical Express (NME)
    • 84 Metascore
    • 70 Critic Score
    The Shepherd's Dog
    Joey Burns and Paul Niehaus from Calexico take part on 'The Shepherd's Dog,' dovetailing neatly with Beam's vividly personal lyrics and ear for gentle, haunting melody.
    • 70 Metascore
    • 70 Critic Score
    Lowtalker [EP]
    Band moniker-related developments of recent years (see also: Ducktails, Peak Twins) mean this now implies gormless nostalgia, smarmy irony and, in a nutshell, chillwave. Happily, Lowtalker--five songs, 14 minutes--is a bit smarter, and better, than that.
    • 80 Metascore
    • 70 Critic Score
    Monkey Minds in the Devil's Time
    It’s not only the boldness of Mason’s subject matter that makes this a brilliantly disquieting record, but also his ability to make it consistently warm and wholesome.
    • 74 Metascore
    • 70 Critic Score
    Rock Is Dodelijk
    ‘Pick Up The Phone’ and ‘Hi How Are You’ are amusing bursts of irritation, but ‘I Can’t Stand To Stand Beside You’ and ‘What’s In It For Me’ stand out, lost classics that could have snuck on to The Who’s ‘Live At Leeds’ (well, almost).
    • 76 Metascore
    • 70 Critic Score
    The Runners Four
    Ace. [15 Oct 2005, p.35]
    • New Musical Express (NME)
    • 69 Metascore
    • 70 Critic Score
    Untogether
    It’s the kind of album that sounds best listened to solo.
    • 76 Metascore
    • 70 Critic Score
    Farm
    There’s also no denying the power of their bittersweet, socially inept aggression, and the ferocity of their sound on Farm. But, as truly gifted as Mascis is on the guitar and as surly as Barlow is vocally, this is merely Dinosaur fossilised, leaving you hankering for something a little more daring.
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