New Musical Express (NME)'s Scores

  • Music
Select another publication »
For 6,299 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: 4,466 out of 6299
  2. Mixed: 1,680 out of 6299
  3. Negative: 153 out of 6299
6299 music reviews
view
per page
    • 68 Metascore
    • 50 Critic Score
    Stand Your Ground
    The gulf between Barrie's obvious talent and the quality of his recorded output is disappointingly huge. [27 Jan 2007, p.29]
    • New Musical Express (NME)
    • 59 Metascore
    • 50 Critic Score
    Fast Man Raider Man
    Where Black's muse was once shrieked and otherworldly, it's now distinctly earth-bound. [17 Jun 2006, p.37]
    • New Musical Express (NME)
    • 55 Metascore
    • 50 Critic Score
    Music For The People
    The Enemy¹s second is weighed down with pomp and bluster.
    • 69 Metascore
    • 50 Critic Score
    Beautifulgarbage
    It's good in flashes but frighteningly unstable.
    • 57 Metascore
    • 50 Critic Score
    Dismantle and Rebuild
    There's something a little too ‘phone advert’ about it all to properly excite.
    • 65 Metascore
    • 50 Critic Score
    Daughter of Cloud
    Unfortunately, this rarities compilation focuses on OM's 2008-until-now phase, and it grates heavily.
    • 85 Metascore
    • 50 Critic Score
    R.A.P. Music
    It's a set of two halves whose hands won't hold.
    • 59 Metascore
    • 50 Critic Score
    New Eyes
    There’s melody and slick production throughout, but all the life and soul of an accountancy website.
    • 69 Metascore
    • 50 Critic Score
    $O$
    $o$ sounds like the most half-baked efforts of Hadouken!, LMFAO and Eugene Hutz.
    • 61 Metascore
    • 50 Critic Score
    Lesser Known
    What disappoints, though, is how numbingly comfortable he is within these nostalgic boundaries.
    • 77 Metascore
    • 50 Critic Score
    The Reckoning
    It’s lyrically weak, however, (sample: “The moon falls in your doorway”) and although there’s sparkle in the production, Johns reveals himself to be a far from charismatic singer.
    • 77 Metascore
    • 50 Critic Score
    Deerhoof Vs. Evil
    Ultimately Deerhoof Vs Evil isn't going to bring about any revolutions by itself. And while the people who love Deerhoof for being Deerhoof will certainly like this, it's no place to start for anyone else.
    • 78 Metascore
    • 50 Critic Score
    Playing The Angel
    Far from bad... but so much of it sounds like a museum piece, the glum-pop self-harmings of another time. [12 Nov 2005, p.45]
    • New Musical Express (NME)
    • 54 Metascore
    • 50 Critic Score
    Michael
    On the balancing strength of those two songs [Dangerous & Much Too Soon], Michael manages to dodge the bullet enough to be kind of enjoyable. But it's worth remembering that both songs date back to the 1980s.
    • 67 Metascore
    • 50 Critic Score
    Braveface
    There’s enough sonic meat here to gain him fans, but not enough depth to build a fanbase that will remember him once he’s off the airwaves.
    • 75 Metascore
    • 50 Critic Score
    II
    The beat pulses seductively on ‘Staring At The Moon’. ‘Flags & Crosses’ sounds like a nasty Bee Gees. But then it all goes a bit wrong.
    • 63 Metascore
    • 50 Critic Score
    Time To Die
    Mostly, though, The Dodos’ little quirks--the lack of bass, the blustery drumming, the lyrics that threaten to say something profound but never do--irritate rather than intrigue.
    • 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.
    • 65 Metascore
    • 50 Critic Score
    Hard Candy
    So yes, a solid enough album by the standards of most pop tarts, but from the mistress of innovation? Pretty mediocre.
    • 69 Metascore
    • 50 Critic Score
    Feel Good
    the promised sense of youth and experimentation rarely surfaces. If anything, Feel Good goes too far the other way, sounding insipid and polished in comparison to The Internet’s debut.
    • 73 Metascore
    • 50 Critic Score
    Sing to the Moon
    Mvula’s keenly awaited debut record is ornate, gentle and clearly composed by someone with vast musical training. So it’s a shame that so much of it sounds lightweight and shallow.
    • 64 Metascore
    • 50 Critic Score
    Only Run
    ‘Blameless’ and ‘Little Moments’ marshal some nice glimmering synths, but Alec Ounsworth’s mewling vocal--while unquestionably distinctive--remains a bit of an odd proposition to achieve the requisite Everyman appeal.
    • 59 Metascore
    • 50 Critic Score
    Relapse
    The overriding feel is of an album just too jaded, too joyless to truly count as a return to form.
    • 67 Metascore
    • 50 Critic Score
    King Con
    It feels too affected to be truly effecting.
    • 69 Metascore
    • 50 Critic Score
    Cutting Up the Present Leaks Out the Future
    Yes, they write pretty and moving songs, but it’s reasonable to expect more from a band with a history of writing such sophisticated pop.
    • 45 Metascore
    • 50 Critic Score
    Billy Talent III
    III is unspectacular, yet it’s laudable that Billy Talent’s chins to remain unencumbered by the ballbags of big business.
    • 65 Metascore
    • 50 Critic Score
    Volcano, I'm Still Excited!!
    Experimental pop that tries way too hard and yet paradoxically feels frustratingly half-hearted. [12 Jun 2004, p.49]
    • New Musical Express (NME)
    • 65 Metascore
    • 50 Critic Score
    Quarters
    Welch displays little dancefloor nous. Conversely, these cheerful jumbles of loops and kickdrums aren’t the kind of ambience you can sink into.
    • 79 Metascore
    • 50 Critic Score
    Woman
    The monotone pace is lifted by the sprightly ‘3 Days’, but ultimately Woman is cloyingly pedestrian.
    • 70 Metascore
    • 50 Critic Score
    Mirrors the Sky
    Cranes is strong on ‘Honeymoon’ and ‘Easy’, but there’s also nigh-on-sprightly, post-Jessie Ware trip-pop on ‘I Only’ and ‘Feather Tongue’. It's just not enough, though, to struggle above years of similarly tasteful, slight efforts.
Page: