New Musical Express (NME)'s Scores

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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
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    • 81 Metascore
    • 90 Critic Score
    Push the Sky Away
    A masterpiece that merges the experimentation and freedom of their side projects with Cave’s most tender songcraft.
    • 74 Metascore
    • 80 Critic Score
    Out of Touch, In the Wild
    Out Of Touch In The Wild sees them evolve into the Field Music you can dance to--or the Talk Talk you can smile to.
    • 71 Metascore
    • 80 Critic Score
    Homosapien
    It’s terrific nonetheless, a coiling gothica sci-fi soundtrack that cocoons Richard Pike’s echo-soaked vocal amid pulsing, binary-code electronics.
    • 73 Metascore
    • 70 Critic Score
    Almanac
    Lashings of reverb and experimentation with acoustic instruments draw the music into something much more evocative.
    • 70 Metascore
    • 60 Critic Score
    We the Common
    It’s all lovely stuff, but the darkness within my soul says it’s maybe too lovely.
    • 78 Metascore
    • 90 Critic Score
    Country Sleep
    The emotive finesse of ‘Cherry Blossoms’ might further the calls for a shoulder to blub on, but chugging full-band showstopper ‘Ramona’ shows Yellen’s songwriting to be as rich as his voice.
    • 87 Metascore
    • 80 Critic Score
    M B V
    MBV is not really an album at all, but an oeuvre in fast-forward.
    • 67 Metascore
    • 80 Critic Score
    Songs for Imaginative People
    There’s still a sense, at its heart, of a warm, yet slightly neurotic overthinker, sat at a mixing desk in his bedroom, possibly in his big white underpants, and just going wherever the spirit takes him.
    • 60 Metascore
    • 60 Critic Score
    Temper Temper
    Clinical and precise rather than mind-blowing, Temper Temper will keep BFMV as a band with one foot in metal and the other in the mainstream, which is exactly where they want to be.
    • 82 Metascore
    • 70 Critic Score
    Honeys
    For the most part, Honeys is a prime example of how the innovativeness of your chosen style matters not a jot, as long as you’re doing it with aplomb. And most importantly, having a bloody laugh.
    • 76 Metascore
    • 90 Critic Score
    Holy Fire
    Holy Fire brings new words to mind. Sharp. Emotive. Massive.
    • 59 Metascore
    • 70 Critic Score
    Anna
    Anna falls frustratingly short of hitting the back of the net.
    • 72 Metascore
    • 80 Critic Score
    FIDLAR
    Without [Kate Nash collaboration Awkward], Fidlar is still an electrifying, intensely fun album. But with it, it would have been perfect.
    • 71 Metascore
    • 50 Critic Score
    Waiting for Something to Happen
    What they offer on Waiting For Something To Happen is a fey-pop selection box that leaves out the gothic grit and garage-infused rabble of early tracks.
    • 51 Metascore
    • 20 Critic Score
    A Moving Picture
    Ensconced in the current UK hip-hop trend of being both depressing and cheesy, 23-year-old James Devlin raps about weapons, swine flu and diabetes.
    • 68 Metascore
    • 40 Critic Score
    Conduit
    The departure of backing vocalist Ryan Richards robs the band of one of their dimensions, and come the lunk-headed thrash of ‘Grey’ you’re left wondering if this renewed heaviness is there to paper over a lack of ideas.
    • 81 Metascore
    • 70 Critic Score
    The Man Who Died in His Boat
    It envelopes you softly, despite being wholly inscrutable.
    • 75 Metascore
    • 70 Critic Score
    The Bronx (IV)
    None of the band’s bolshy character is lost on Bronx IV, but they do find new places to go.
    • 76 Metascore
    • 80 Critic Score
    Wonderful, Glorious
    From the moment ‘Bombs Away’ hoves menacingly into view, it’s clear this is Eels at their most visceral.
    • 79 Metascore
    • 80 Critic Score
    Pedestrian Verse
    Take note, Mr Paltrow: this is how you do life-affirming.
    • 78 Metascore
    • 80 Critic Score
    II
    Raw melody made Unknown Mortal Orchestra exciting two years ago; now they’ve matched it with attention to detail.
    • 73 Metascore
    • 70 Critic Score
    Regions of Light and Sound of God
    Fans alienated by My Morning Jacket’s more recent material will find plenty of comfort here.
    • 69 Metascore
    • 80 Critic Score
    News from Nowhere
    A twinkling set of songs that benefits from Wild Beasts soundman Richard Formby’s gossamer production touch.
    • 72 Metascore
    • 50 Critic Score
    The Flower Lane
    From there on in, though, it's ploddingly lightweight.
    • 67 Metascore
    • 70 Critic Score
    Adam Green & Binki Shapiro
    The subtle, sleepy, silkily textured likes of 'Pity Love' and the spry, sly 'Just To Make Me Feel Good' are a sweet breeze.
    • 69 Metascore
    • 80 Critic Score
    Somewhere Else
    At times, a lack of crescendo leaves his songs teetering on the precipice of drama. The money shot, though, comes with the title track--an epic, swirling conclusion to his debut.
    • 54 Metascore
    • 60 Critic Score
    Christopher
    Christopher is all dreamy lushness with synths that range all the way from zappy to squashy.
    • 77 Metascore
    • 80 Critic Score
    Hummingbird
    [Mt Washington is] an early contender for song of the year, with Local Natives themselves current frontrunners for unexpectedly brilliant comeback of 2013.
    • 74 Metascore
    • 70 Critic Score
    Out of View
    Out Of View, engineered by The Horrors' Josh Hayward, is noisy, irreverent fun.
    • 85 Metascore
    • 80 Critic Score
    Big Inner
    Many have tried to recreate the vibrancy and laidback groove of vintage soul-pop, but to absolutely nail it you need to be someone truly cosmic. Amy Winehouse just about managed it, and Matthew E White is one other such person.
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