Prefix Magazine's Scores

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For 2,132 reviews, this publication has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 3.1 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 Modern Times
Lowest review score: 10 Eat Me, Drink Me
Score distribution:
  1. Positive: 1,576 out of 2132
  2. Mixed: 509 out of 2132
  3. Negative: 47 out of 2132
2132 music reviews
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    • 66 Metascore
    • 50 Critic Score
    Surfing
    Despite Rogove’s contribution and support from the likes of the Strokes’ Fabrizio Moretti among others, Surfing illuminates the problems that have dogged Banhart since the jump: He can make really great pieces of ‘60s folk and pop homage, but has terrible self-editing skills and has trouble avoiding lameness, sad attempts at humor and bad taste.
    • 70 Metascore
    • 60 Critic Score
    Ropechain
    Ropechain is sometimes frustrating bordering on indulgent, but it also depicts, without censorship, Adamson’s unique process and point of view.
    • 69 Metascore
    • 70 Critic Score
    Intimacy
    On Intimacy his ambition often outpaces the execution.
    • 74 Metascore
    • 60 Critic Score
    Heart On
    The third album of the formula, the lovely-titled Heart On, shows that the Eagles of Death Metal have reached their limits, but not without a noble effort to keep on rockin’.
    • 69 Metascore
    • 60 Critic Score
    4:13 Dream
    In the end, 4:13 Dream is nothing but a solid to shaky late period album from a band that’s due can’t really be understated.
    • 81 Metascore
    • 80 Critic Score
    Microcastle
    Continuing the convention-defying structure that Deerhunter pioneered with "Cryptograms," Microcastle starts slow and spirals into something much larger.
    • 72 Metascore
    • 80 Critic Score
    Cardinology
    Gently blurring the lines between the warm golden haze of pedal-steel’d country rock with elements of tasteful, classicist new wave, the quietly intimate Cardinology jettisons the schizoid, freewheeling genre-hopping of previous records, giving the album--and, most important, the songs--an intensity of focus where there was once just intensity.
    • 66 Metascore
    • 70 Critic Score
    Just A Souvenir
    A few breakneck thrash-jazz tracks, occasionally bearing a resemblance to TNT-era Torotise, make way for a distinctly downbeat end to the record. It’s a shame, because Just a Souvenir really could have done without the insipidness of 'Duotone Moonbeam' or the languid 'Quadrature.'
    • 70 Metascore
    • 60 Critic Score
    Alpinisms
    Like the band members themselves, Alpinisms is full of promise and obvious talent but would benefit from a more clearly defined direction.
    • 76 Metascore
    • 85 Critic Score
    Alight Of Night
    Easily the most exhilarating rock 'n' roll record to emerge in 2008.
    • 71 Metascore
    • 80 Critic Score
    Remind Me In 3 Days
    With Remind Me in 3 Days, they throw down a worthy challenge to hip-hop’s status quo.
    • 84 Metascore
    • 85 Critic Score
    Tronic
    Tronic isn’t quite hip-hop’s "Smile," but Black Milk is certainly open to pushing similar boundaries of possibility.
    • 71 Metascore
    • 80 Critic Score
    Skeletal Lamping
    "Epic” is the only way to describe the balance of Skeletal Lamping--Barnes isn’t afraid to throw everything on tape.
    • 73 Metascore
    • 70 Critic Score
    Car Alarm
    Sometimes there’s a comfort to be found in familiarity, and Car Alarm plays like an object lesson on why sticking to your guns isn’t always such a bad idea after all.
    • 78 Metascore
    • 85 Critic Score
    Saint Dymphna
    It's rare to find a band with such breadth of vision, and although indie kids might balk at Saint Dymphna's shameless embrace of the dance floor, the rest of us will be lost in its agitated reverie.
    • 74 Metascore
    • 45 Critic Score
    Missiles
    The Dears left Arts & Crafts and cut their least entertaining album yet, Missiles, deciding to release it through the more populist confines of Dangerbird.
    • 78 Metascore
    • 85 Critic Score
    Receivers
    This semi-collective sound-making only adds to the expansiveness of the band’s gestures.
    • 79 Metascore
    • 75 Critic Score
    Hush Arbors
    There’s something deeply captivating about Wood’s songs, and they’re brought to an appropriate close with a tightly wound sequel (of sorts) to the album’s opener, 'Water II.'
    • 66 Metascore
    • 65 Critic Score
    Afton
    Rossi's music doesn't offer some great payoff, but the nice thing is that it suggests that we should keep listening because there will be one down the line.
    • 82 Metascore
    • 85 Critic Score
    Stay Awake [EP]
    This is the kind of music we should be hearing all the time, instead of the deathly boring muzak we (and our ears) generally expect.
    • 69 Metascore
    • 70 Critic Score
    Liver! Lung! Fr!
    Liver! Lung! FR! is a solid album--it was just better six months ago.
    • 73 Metascore
    • 80 Critic Score
    Exposion
    Exposion challenges us to rethink the limitations of a song, and thusly rewards us with an album unlike any other this year.
    • 65 Metascore
    • 65 Critic Score
    Secret Machines
    Despite the band’s mechanical leanings, they’ve always been able to let emotion seep through the swell and walls of distortion and static; it’s a trait the band shares in common with few of their louder (current) contemporaries. But the opening half of the album is not powerful enough to convince the listener of much of anything.
    • 68 Metascore
    • 55 Critic Score
    Who Killed Harry Houdini?
    Who Killed Harry Houdini? is beset by lukewarm, heart-on-sleeve ballads that spoil the album and sub-form slices of pop that never take off.
    • 67 Metascore
    • 80 Critic Score
    The Way Of All Flesh
    Nobody sounds quite like them, though, and few metal bands balance spiritual and metallic consciousness so well.
    • 76 Metascore
    • 90 Critic Score
    The Door
    On The Door, there is a sense that the sounds happening are not the products of the people creating them but rather those of some inscrutable (and vaguely dangerous) pulsing energy below our feet. It’s an amazing effect. And it’s created through the sheer power of quantity and repetition.
    • 71 Metascore
    • 75 Critic Score
    Reefer [EP]
    Reefer works best as a moment that’s fleeting.
    • 75 Metascore
    • 70 Critic Score
    Droppin' Science Fiction
    Though the album doesn’t develop a theme throughout listening, the all-star analogy holds up.
    • 76 Metascore
    • 80 Critic Score
    Dark Developments
    It's evidence of a powerful songwriter honing his artistry.
    • 82 Metascore
    • 80 Critic Score
    Leave It All Behind
    With electronic and live sounds, emotional production and excellent vocals from some of the underground scene’s best, Leave It All Behind is an open and experimental take on hip-hop and soul, highly successful, at that.
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