Pretty Much Amazing's Scores

  • Music
Select another publication »
For 761 reviews, this publication has graded:
  • 59% higher than the average critic
  • 3% same as the average critic
  • 38% lower than the average critic
On average, this publication grades 0.5 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 The Life Of Pablo
Lowest review score: 0 Xscape
Score distribution:
  1. Positive: 582 out of 761
  2. Mixed: 156 out of 761
  3. Negative: 23 out of 761
761 music reviews
view
per page
    • 73 Metascore
    • 67 Critic Score
    St. Catherine
    An easy criticism to level at St. Catherine is that it breaks no ground, that Mondanile can probably pen these kind of fuzzy and meandering ditties in his sleep. That might be true, but St. Catherine’s highpoints will hypnotize and hold sway long enough to keep you entranced until Mondanile’s next contribution.
    • 73 Metascore
    • 83 Critic Score
    Love Is Free [EP]
    Love is Free makes a seriously compelling case that the EP should be the standard form of pop-music communication. Robyn’s latest is all killer, no filler, and leaves you begging for more.
    • 73 Metascore
    • 67 Critic Score
    Uptown Special
    Uptown Special exhibits a long-playing cohesion missing from his prior output. The sense of free-wheeling fun, however, is largely absent with the exception of the record’s funky A-side trifecta.
    • 73 Metascore
    • 58 Critic Score
    Perpetual Surrender
    Neither engaging enough to be exhilarating, nor boisterous enough to be obnoxious, Perpetual Surrender simply gazes at its shoes without making much of an impression at all.
    • 73 Metascore
    • 83 Critic Score
    Paracosm
    The songs are intricately built but they also feel distinctly impermanent; little snippets of soft static open and close a number of tracks, like the songs are coming in and out focus.
    • 73 Metascore
    • 58 Critic Score
    Heartworms
    Despite the glorious melodies hidden within so many of these tracks, like the opening duo of “Name for You” and “Painting a Hole”, huge potential is undermined by ham-fisted executions and depths you could wade through.
    • 73 Metascore
    • 58 Critic Score
    Static
    Static lacks variety. It’s just a short-fused, gloomy rehash, and what little has been changed isn’t really an improvement.
    • 73 Metascore
    • 75 Critic Score
    Oxnard
    Ultimately, the bigged up production doesn’t suit .Paak’s soulful tendencies, which are further lost in his switch to rap. There are a few highlights, sure, but not nearly enough for an artist who I would’ve placed bets would be the next Big Thing.
    • 73 Metascore
    • 67 Critic Score
    Shulamith
    Poliça flirt with greatness often enough to make Shulamith more than worth your time, but it’s not as brave as we’d like it to be.
    • 73 Metascore
    • 75 Critic Score
    Number 1 Angel [Mixtape]
    Aitchison intelligently pairs her clever lyrics against beats that push genres outward, her filling in the spaces with her hooks and gigantic personality.
    • 73 Metascore
    • 75 Critic Score
    An Object
    No Age may not have delivered another knockout, but An Object compensates for its shortcomings by being a mature and often moving album, a first for the duo.
    • 73 Metascore
    • 67 Critic Score
    The Triad
    All of Weber’s best qualities as a producer are on display on The Triad, his fourth album and first in six years. But The Triad also reveals a previously unforeseen Achilles’ heel: the guy doesn’t have a clue what to do with vocals.
    • 73 Metascore
    • 83 Critic Score
    The Powers That B
    By Death Grips’ standards, the first disc is significantly less dynamic than the second.... Jenny Death represents another step forward for Death Grips, a group that seems to have walked over the horizon and out of sight albums ago.
    • 73 Metascore
    • 33 Critic Score
    Death Magic
    The end result is 40 minutes of music that drain the listener’s energy and will.
    • 73 Metascore
    • 83 Critic Score
    Moth
    Moth is a breezy, immensely enjoyable pop record that provides just the amount of pep that you’ll need to make it through the winter.
    • 73 Metascore
    • 83 Critic Score
    Angel
    It’s a heartfelt, narcotic odyssey through the seductive pleasures of lava lamps and black light posters, a kind of escapism that comes in the same strange, silk-screened colors as the novelty lighters and t-shirts one might find at a backwoods southwestern gas station.
    • 73 Metascore
    • 67 Critic Score
    Tomorrow's Hits
    Tomorrow’s Hits carries on the classic rock torch, for better or worse.
    • 73 Metascore
    • 75 Critic Score
    Love Letters
    Despite the growth it signifies for Mount, and the candor with which he delivers it, Love Letters is so lightly sketched that it never fully engages on a gut level.
    • 73 Metascore
    • 83 Critic Score
    Body Music
    Though Body Music contains only one true misfire (the immediately forgettable “Kaleidoscope Love”), the album’s strongest tracks glow so bright that fine songs such as “Diver,” “Lost and Found” and “Bad Idea” can get lost in their shadow, at least on early listens.
    • 73 Metascore
    • 67 Critic Score
    Wolf's Law
    While Wolf’s Law has a few lulls, such as the syrupy, “The Turnaround,” and some of the prog moments like “The Leopard and the Lung,” run too long, the best moments shine.
    • 72 Metascore
    • 75 Critic Score
    Outer Peace
    His chillwave sensibilities remain, but they’re bolstered by more direct elements from the popular hip-hop and disco funk sounds of today.
    • 72 Metascore
    • 83 Critic Score
    FIDLAR
    FIDLAR will make you want to pound a case of the cheapest beer you can find with these guys, it’ll make you want to crank it up as loud as it will go in whichever of your friends’ cars.
    • 72 Metascore
    • 58 Critic Score
    Joyland
    A record that’s all too often content with mediocrity even though its finest moments reveal just how close it came to greatness.
    • 72 Metascore
    • 83 Critic Score
    Avalanche
    What Avalanche may lack in immediacy, it makes up for with the gloss and professionalism that coats each of its songs like a gossamer gown. The quality of Hannibal’s handiwork and the sheer passion of Coco’s vocals speak for themselves.
    • 72 Metascore
    • 67 Critic Score
    Crosswords [EP]
    Crosswords, as a collection of loose leaves, doesn't have the weight of Grim Reaper but that also means it doesn't have the pressure. Crosswords is something you can just consume without trying to wring every inch of intent out of it.
    • 72 Metascore
    • 58 Critic Score
    Flying Microtonal Banana
    It’s a solid record and one that’s sure to please fans, myself included, even if it doesn’t meet the highs of its predecessor.
    • 72 Metascore
    • 75 Critic Score
    Lousy with Sylvianbriar
    While of Montreal aren’t exactly strutting 2007-style again, their tweaked, re-energized sound has them strutting nonetheless. And that’s what they do best.
    • 72 Metascore
    • 83 Critic Score
    Turn Blue
    El Camino was the sound of The Black Keys flexing their muscles as they reached for that sword, but Turn Blue is the sound of The Black Keys baring their soul and testing the parameters.
    • 72 Metascore
    • 67 Critic Score
    Enter the Slasher House
    The campy Scooby Doo spookiness that inspires Slasher Flicks’ aesthetic is so charming and irresistible that Enter the Slasher House regularly succeeds despite its faults.
    • 72 Metascore
    • 83 Critic Score
    White Hot Moon
    It’s a better seasoned Feast of Love, yes. But when the wagon still has wheels, it’s hard to knock them for continuing to ride it. It’s still as smooth as it’s always been.
Page: