No Ripcord's Scores

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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
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    • 59 Metascore
    • 20 Critic Score
    Bigger Love
    Every song on here comes from a collaboration from a different source, or a different trend that Legend is hopping on. There’s nothing personal here. ... Bigger Love’s second half has painful trap pop (Don’t Walk Away), plastic soul (Remember Us, Always), and a piano ballad closer with no defining traits or features (Never Break), all in classic John Legend fashion.
    • 59 Metascore
    • 20 Critic Score
    Uncanney Valley
    Synths take a higher precedence this time round: it’s an indie-pop record, far from their post-hardcore roots; indeed Living in Song sounds like an Architecture in Helsinki knockoff. But even when you can hear the band trying out new things, it simply sounds turgid.
    • 73 Metascore
    • 20 Critic Score
    4
    Where this album should be fresh and current, it sounds tired, repetitive and uninspired.
    • 60 Metascore
    • 20 Critic Score
    Start the Revolution Without Me
    It is, quite frankly, tedious and utterly un-inspiring, lacking any serious ability to convey the emotive forces which I would hope drove the song writing processes. [Review of UK release The Future Is Medieval]
    • 58 Metascore
    • 20 Critic Score
    Curtis
    A 55-minute mess called Curtis, undoubtedly one of this year’s worst releases.
    • 37 Metascore
    • 20 Critic Score
    Rebirth
    The derivativeness quickly overwhelms.
    • 62 Metascore
    • 20 Critic Score
    Beacon
    Mostly everything is contrived and cliché, lifted from a stock collection of guitar rock and electro rock of the past ten years.
    • 72 Metascore
    • 20 Critic Score
    Fix Yourself, Not the World
    There is no excuse for accepting this level of mediocrity.
    • 49 Metascore
    • 20 Critic Score
    #willpower
    Conveniently, he’s premeditated every song in #willpower with a bevy of wishy-washy, quotable clichés that are meant to fit the space of 140 characters. Sadly, that's as deep as it gets.
    • 51 Metascore
    • 20 Critic Score
    Body Faucet
    This album is a carbon copy of Vampire Weekend, but you know how when Gus Van Sant remade Psycho shot for shot and it was rubbish? It's like that.
    • 63 Metascore
    • 20 Critic Score
    Drones
    Aside from a few crunching riffs and a smattering of neat melodies, there’s very little to recommend within Drones.
    • 64 Metascore
    • 20 Critic Score
    From the Fires
    They’re playing the blues, man, and obviously, nobody does that anymore. And really, even on a good half of From the Fires, the fast-tracked major label signees don’t even try to really emulate their esteemed deities’ dangerous sexuality and, instead, bafflingly resort to half-assed emotional platitudes.
    • 51 Metascore
    • 20 Critic Score
    See My Friends
    The occasional highlight isn't enough to make up for the cloth-eared versions of timeless songs found elsewhere on the record, or to cover up for the fact that See My Friends is a mostly soulless, and an entirely pointless album.
    • 68 Metascore
    • 20 Critic Score
    Dos!
    Many of the tracks on Dos! are merely soulless specters of previous work from Green Day's "golden-age."
    • 61 Metascore
    • 20 Critic Score
    Sleep Mountain
    Sleep Mountain isn’t entirely unenjoyable; its two main crimes are that it’s too safe with its simple chord patterns and unimaginative riffs, and that it’s too in thrall to the records that have inspired it.
    • 61 Metascore
    • 20 Critic Score
    Bangerz
    We get a record that is surprisingly dull, which alternates between syrupy, unremarkable ballads and uptempo tracks that sound like they’ve been assembled by a committee of consultants.
    • 40 Metascore
    • 10 Critic Score
    Liz Phair
    For what it is, it may in fact be quite good. But, to her discarded fans, at least, she's given the ultimate finger.
    • 81 Metascore
    • 10 Critic Score
    Public Strain
    At its weakest, the album is merely boring with the lamely typical Can't You See, an album opener of distorted rumbling and vocals so low you'd strain to make them out. Arguably worse than a bland track is that the album actually offers some hope for a reasonably enjoyable experience.
    • 52 Metascore
    • 10 Critic Score
    Fake Songs
    Liam Lynch is about as funny as the plague, and even that had its moments in Monty Python. This doesn't have any.
    • 62 Metascore
    • 10 Critic Score
    Babel
    I'll admit, the songs on Babel wouldn't be so painful if it weren't for the god-awful "deep" lyricism of Marcus Mumford.
    • 60 Metascore
    • 10 Critic Score
    Some Nights
    Awful.
    • 59 Metascore
    • 10 Critic Score
    This Modern Glitch
    Apparently The Wombats only managed to write the one song for the album and so have decided to just repeat it ten times, offering little-to-no variation in tone or tempo--although to be fair to them, they do stick a different synth preset on for each song so you can tell them apart.
    • 58 Metascore
    • 10 Critic Score
    The Path of Totality
    It is samey, ugly and spectacularly stupid at the same time.
    • 34 Metascore
    • 0 Critic Score
    Famous First Words
    This album is an abomination. It's a rancid pile of regurgitated tripe.
    • 49 Metascore
    • 0 Critic Score
    All Things Bright and Beautiful
    Owl City is electro-pop's unwanted bastard child, combining all the worst elements of the genre. The production is lazy and unbelievably dull.
    • 47 Metascore
    • 0 Critic Score
    Gary Go
    Polished to the point of being nausea-inducing, this album has been packaged to a precise remit: robotic, stadium-rock-lite that follows the tried and tested formula of acoustic quiet bit, drums come in, second verse, chorus, repeat to fade so strictly that you’ll feel like banging your head against a brick wall and/or adding your own beat-box percussion.
    • 42 Metascore
    • 0 Critic Score
    Scream
    The record sounds phoned in, plain and simple, and its awkward concessions to cliche, its trash heap lyrical conceits, and its dopey production have a cumulative effect that would be insulting if it weren’t so transparently uninspired and uninteresting.
    • 52 Metascore
    • 0 Critic Score
    F.A.M.E.
    F.A.M.E. is a vile, despicable album that doesn't deserve to be supported in any way, shape or form. Its very existence is a frightening indictment of our times, in terms of our attitudes to music, women and the cult of celebrity.
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