New Musical Express (NME)'s Scores

  • Music
For 6,298 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:
6298 music reviews
    • 83 Metascore
    • 80 Critic Score
    Part II is an altogether more personal and laidback affair, concerned with romance and emotions.
    • 83 Metascore
    • 100 Critic Score
    Energy, desire and that indefinable cool that any great rock band must have burst from every angle. This album feels like a celebration, and Sheer Mag sure deserve one.
    • 83 Metascore
    • 90 Critic Score
    The TNGHT EP packs five explosive instrumental hip-hop tracks, every one dripping with each producer's trademark sonic flourishes.
    • 83 Metascore
    • 80 Critic Score
    It’s a high-quality project, but we lost Mac way too soon, and that’s hard to accept. So while it’s hard to listen to him talking about self-deterioration and how he spends far too much time in his own head, it’s a privilege to hear him share his inner most thoughts over a bed of sweeping, inventive sonics. This is the album Mac Miller was born to make.
    • 83 Metascore
    • 80 Critic Score
    July is a career high.
    • 83 Metascore
    • 80 Critic Score
    Where his previous projects felt sprawling, ’uknowhatimsayin¿’ succeeds in feeling compact while delivering a powerful project that is expertly produced and concisely executed.
    • 83 Metascore
    • 80 Critic Score
    This isn’t merely a record by a good band. This is a record by an important one that is now teetering on the edge of greatness.
    • 83 Metascore
    • 80 Critic Score
    When the album proper kicks in with ‘Totally Fine’, it’s clear that PUP are still trading in the same brutally pissed off but unassailably catchy blasts of self-loathing. And, yes, it’s still as much fun as ever.
    • 83 Metascore
    • 80 Critic Score
    If the best country music has always been about storytelling, then on ‘Cruel Country’ Wilco are delivering it in its purest form.
    • 83 Metascore
    • 90 Critic Score
    Swans' bleakness is beset with great beauty, black wings to another world.
    • 83 Metascore
    • 80 Critic Score
    Tracks like 'Mortar Remembers You' convey the bleakness of the situation ("I had to build a room to contain all the panic"), but Campbell's voice and the persistent whirling synths infuse the desolation with compelling energy.
    • 83 Metascore
    • 80 Critic Score
    It's expansively, ecstatically excellent for many of the same reasons as The Field's previous two: blissful, loop-based hymns at the intersection between shoegazing, trance and minimal techno.
    • 83 Metascore
    • 80 Critic Score
    ‘Harry’s House’ is undoubtedly Styles’ best record yet and presents a musician comfortable and confident in what he wants to create right now.
    • 83 Metascore
    • 70 Critic Score
    All in all, this is merely promising rather than masterful. [14 Oct 2006, p.35]
    • New Musical Express (NME)
    • 83 Metascore
    • 80 Critic Score
    Their jaunty Americana morphs from something lovely into something utterly essential.
    • 83 Metascore
    • 80 Critic Score
    There’s almost something for everyone on Dose Your Dreams, and, thankfully, that eclectic aspect to Fucked Up’s most ambitious project yet means it leans more towards opus than hopeless.
    • 83 Metascore
    • 80 Critic Score
    Old
    Tracks like 'Torture' borrow far too liberally from A$AP Rocky's cloud-rap aesthetic to be considered original. But otherwise, Old is a perfect example of why 2013 is a very exciting time for hip-hop.
    • 83 Metascore
    • 80 Critic Score
    The impressive ‘3.15.20’ [is] well worth the wait.
    • 83 Metascore
    • 100 Critic Score
    Konnichiwa is a landmark in British street music, a record good enough to take on the world without having to compromise one inch in the process.
    • 83 Metascore
    • 80 Critic Score
    When icy guitar turns ‘Pay My Debts’ into one of Van Etten’s darkest songs yet, Van Etten’s wounds feel incredibly raw.
    • 83 Metascore
    • 70 Critic Score
    Tempest is a relentless exploration of bleakness.
    • 83 Metascore
    • 80 Critic Score
    ‘Sincerely,’ sometimes meanders – six woozy minutes of ‘Lose My Cool’ is too much – but more often, it matches the dreamy intimacy of Uchis’ stunning 2020 smash ‘Telepatía’. Here, her music shimmers with confidence even when her lyrics hint at deep-rooted insecurities.
    • 83 Metascore
    • 80 Critic Score
    If ‘All Mirrors’ took you to a lavish, creaky ballroom, then ‘Whole New Mess’ tucks you away in the cupboard under the stairs, the door slammed tightly shut.
    • 83 Metascore
    • 80 Critic Score
    This is the side of Jack White III he's happy to show the world right now, and it's absolutely fascinating to behold.
    • 83 Metascore
    • 70 Critic Score
    Sounds as if it were recorded on one perfectly wasted afternoon. [22 Oct 2005, p.43]
    • New Musical Express (NME)
    • 83 Metascore
    • 80 Critic Score
    Bass, horns, strings, organ and choir provide the backbone, and when Whitney allow themselves to kick it up a gear and really let rip, as on ‘Golden Days’ (with its cathartic “Na na na” outro) or the George Harrison-meets-The Band magnificence of ‘Dave’s Song’, they’re untouchable.
    • 83 Metascore
    • 80 Critic Score
    The resulting remixes and medleys, as heard on equipment that probably costs more than your house at Abbey Road, could make you weep with joy. It may not sound as good on a common-or-garden stereo, but you'll still mist up a bit.
    • 83 Metascore
    • 90 Critic Score
    Ultimately, this album is the sound of the future.
    • 83 Metascore
    • 80 Critic Score
    This urgent and important record will ensure the veterans don’t get lost in the shuffle.
    • 83 Metascore
    • 90 Critic Score
    It’s lyrically dark and has the musical aggression to back it up.