No Ripcord's Scores

  • Music
Select another publication »
For 2,825 reviews, this publication has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 2.8 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 Strawberry Jam
Lowest review score: 0 Scream
Score distribution:
  1. Positive: 1,983 out of 2825
  2. Mixed: 765 out of 2825
  3. Negative: 77 out of 2825
2825 music reviews
view
per page
    • 80 Metascore
    • 70 Critic Score
    Always Foreign
    A large portion of Always Foreign focuses on building terse melodic post-rock suites (Faker), though their words are necessary and valued, and they emote them with a heartfelt directness that recalls their formative beginnings (Dillon and Her Son, Gram). This balancing act of moods can sometimes lend Always Foreign an air of indecision, though if the intent was to take it as majestic as it can be, then they remove any trace of subtlety on the album’s rousing power ballad as if applying the handkerchief-in-hand progressive elements of Queensryche (Infinite Steve).
    • 80 Metascore
    • 85 Critic Score
    Masquerade
    Cardinals’ refreshing and impressive debut album sounds raw and imperfect, striking a cheerful yet dark ambiance that embraces gothic romanticism within a distinctly Irish-sounding folk punk sound.
    • 80 Metascore
    • 70 Critic Score
    The Sunlandic Twins
    Barnes seems to draw from a bottomless well of creativity, and is capable of the most sublimely unexpected melodic phrasing. At the same time, he can come off as a little too intellectual for his own good.
    • 80 Metascore
    • 60 Critic Score
    After the Party
    Ultimately, it’s disappointing to see how The Menzingers are continuing an unremarkable plan of action when they should be challenging themselves even further.
    • 80 Metascore
    • 80 Critic Score
    Tones Of Town
    You absolutely, positively cannot go wrong buying this one.
    • 80 Metascore
    • 80 Critic Score
    Believers
    Bondy trudges along without much to believe in, but his instilled confidence tells otherwise.
    • 80 Metascore
    • 40 Critic Score
    Oshin
    Because it's tediously unassuming, people will listen to it in the background once or twice while skimreading blogs and forget about it within a year.
    • 80 Metascore
    • 70 Critic Score
    Mystery [EP]
    Mystery has a jazz-fusion inspired structure, complete with waves of distortion, hectic-but-precise drumming, growling guitar accents, and layers upon layers of vocal blankets that push the music to teetering on the edge of chaos.
    • 80 Metascore
    • 80 Critic Score
    The Golden Age of Apocalypse
    It's been a pretty solid year for electronic music thus far, and this comfortably sits with the best.
    • 80 Metascore
    • 80 Critic Score
    Wed 21
    There’s a lot to take in throughout Wed 21’s richly layered and complex matrices, but in no way do they hinder Molina’s streak of keeping things minimal.
    • 80 Metascore
    • 80 Critic Score
    Wake in Fright
    Uniform’s American nightmare is relatable and honest, revealing the dangers of dependency, the want of escape, and the problematic effects one can experience while trying to end that bond. One can’t say that there’s hope within the contents of Wake in Fright, (one might even say it’s a tad overwrought), but it’s a story worth telling nonetheless.
    • 80 Metascore
    • 60 Critic Score
    Little Fictions
    Little Fictions is Elbow's weakest album since their second LP, Cast of Thousands. Despite the flaws, several tracks stand out among their strongest work.
    • 80 Metascore
    • 80 Critic Score
    I Love You Like a Brother
    I Love You Like a Brother is the type of catchy, kinetic album that’s natural and effortless.
    • 80 Metascore
    • 70 Critic Score
    This Is Glue
    Their attempts at country-folk are less remarkable, causing This is Glue to droop towards its middle half, but Salad Boys do pick themselves up with aplomb rather than surrender to their sullen demeanor.
    • 80 Metascore
    • 50 Critic Score
    Mind Hive
    Mind Hive is middling. Some tracks are engaging and perk up your ears, while others are flat-out dull and uninspired.
    • 80 Metascore
    • 60 Critic Score
    Sideways to New Italy
    On Sideways to New Italy, the five-piece continues their solid methodology of songcraft, even if it may feel a little stale by the album’s end. It’s the cream of the crop when it comes to modern reverbed-out jangle pop, but there’s really only so much one can take when it comes to this midtempo playlist-rock.
    • 80 Metascore
    • 80 Critic Score
    Perfect [EP]
    It’s the ultimate sample platter for a band who defiantly refuses to meet your expectations, and for everything it lacks in consistency, it more than makes up for in offering a heart-bled moment that will burn bright for someone.
    • 80 Metascore
    • 80 Critic Score
    We Cater to Cowards
    We Cater To Cowards has warranted many listens, our current timeline a wealth of ridiculousness breeding targets meant for Oozing Wound’s shrapnel. Again, if you’re missing the joke, you may want to duck.
    • 80 Metascore
    • 90 Critic Score
    The Lady Killer
    The Lady Killer is generic in the best possible sense of the word; put simply: this is music for the soul, and even Mr. Gallagher has one of those.
    • 80 Metascore
    • 80 Critic Score
    Tell Me How You Really Feel
    The performances are muscular and attention-grabbing, and the melodies built around her distress take new and zestful contours.
    • 80 Metascore
    • 80 Critic Score
    Nothing Is Wrong
    You may not love it, but you'll probably like it, and that's enough.
    • 80 Metascore
    • 90 Critic Score
    You're Nothing
    Despite the group’s apathetic demeanor, it makes you wonder if each track on You’re Nothing’s sublime dirge is a result of those fleeting moments of carnal ecstasy, as it’s hard not to get lost in the beaten and bruised squalor Iceage expels on their grittiest--and best--album yet.
    • 80 Metascore
    • 80 Critic Score
    Marissa Nadler
    Marissa Nadler does continue Nadler's impressive track record, and showcases her at her most confident.
    • 80 Metascore
    • 90 Critic Score
    Transference
    The album twisted and turned its already discombobulated songs around and around, never letting anyone get comfortable. It showed a more cerebral Spoon than ever before.
    • 80 Metascore
    • 70 Critic Score
    "Hello, Hi"
    Segall eases you with his unique charm, but he also tricks you, subtly cranking things up to remind you of his frenzied output. The tone remains largely indistinct throughout, but it also feels like he's begun concocting his next witches' brew.
    • 80 Metascore
    • 80 Critic Score
    My Maudlin Career
    My Maudlin Career is a wonderful set of songs and can deservedly sit alongside Let’s Get Out Of This Country while showcasing how far Camera Obscura have come since their patchy yet charming début, Biggest Bluest Hi-Fi.
    • 80 Metascore
    • 90 Critic Score
    The Snake
    To put it simply, it’s a near perfect conclusion to one of the finest records I’ve heard this year.
    • 80 Metascore
    • 80 Critic Score
    Cupid's Head
    Even through all the morass, a vague optimism seems to always seep through; he plays with our senses, waiting for that final act to pull a disappearing act that can leave one utterly spellbound.
    • 80 Metascore
    • 70 Critic Score
    Martha Wainwright
    It shows off a fantastic songwriting talent, if not conveying the live magic.
    • 80 Metascore
    • 90 Critic Score
    Wind In The Wires
    Wind in the Wires is a beautifully executed album that has everything: pace, panache, and clean sentiment.
Page: