Stylus Magazine's Scores

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For 1,453 reviews, this publication has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 4.1 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Fed
Lowest review score: 0 Encore
Score distribution:
  1. Positive: 987 out of 1453
  2. Mixed: 361 out of 1453
  3. Negative: 105 out of 1453
1453 music reviews
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    • 83 Metascore
    • 70 Critic Score
    Homesongs
    A good and often great debut.
    • 60 Metascore
    • 70 Critic Score
    One Plus One Is One
    A veritable debutante ball of sad little songs.
    • 84 Metascore
    • 80 Critic Score
    Blue Cathedral
    Uninhibited and hushed in all the right places, it’s safe to say that Comets on Fire have hit their stride.
    • 56 Metascore
    • 80 Critic Score
    Until The End
    Kittie's most fully-realised and, for non-metalheads, approachable album yet.
    • 65 Metascore
    • 60 Critic Score
    Kiss & Tell
    Where the Donnas offer confident exhortations and definitive declarations, Kiss And Tell is dribbling with foggy contemplation and emotional explanation.
    • 86 Metascore
    • 90 Critic Score
    Dead Cities, Red Seas & Lost Ghosts
    Although at times M83 evoke Jean-Michel Jarre or Air, this is far from being an album of Franco-synth by numbers; it is the layered, hypertextual futurism of My Bloody Valentine and Brian Eno which seeps through the electronic Gallic gauze as the most palpable influences.
    • 71 Metascore
    • 80 Critic Score
    Riot On An Empty Street
    The Kings of Convenience don’t stray too far from their basic formula of guitars, upright bass, twinkling piano, viola, cello and soft percussion in the background. It’s consistent and it works.
    • 81 Metascore
    • 90 Critic Score
    Scissor Sisters
    With more concern for melody and rhythm than partisan politics, they use modern technology and an open mind to nimbly skip between the opposing camps of black 70s Disco and white 70s AM Radio, but in their songwriting methods The Sisters embrace the now mythic open arms party spirit of the early dance movement.
    • 74 Metascore
    • 50 Critic Score
    Where You Want To Be
    [It's] not just emo, but the purest, most virulent strain of the stuff.
    • 80 Metascore
    • 90 Critic Score
    A Lifetime Of Temporary Relief
    I was a huge fan of Low before A Lifetime Of Temporary Relief, but the perspective it casts both by amassing so much of their beautiful music and by casting new light on the people who make it make this box set utterly essential.
    • 80 Metascore
    • 70 Critic Score
    Miss Machine
    The group’s move toward a math-metal-industrial fusion is a welcome one that should help to bring them fans that have never heard the group before.
    • 78 Metascore
    • 50 Critic Score
    Tyrannosaurus Hives
    In the end, we can’t ignore that The Hives’ best moments are those borrowed (or just plain pilfered) from punk acts that preceded them.
    • 58 Metascore
    • 40 Critic Score
    Autobiography
    She sounds like she’s adopting characters and singing their songs, rather than her own. And, for a record with the name Autobiography, it seems like no bigger criticism could be leveled.
    • 70 Metascore
    • 80 Critic Score
    Blueberry Boat
    In the end, that's the best gift the Furnaces have to offer, the simple power of their own joyful racket and clatter, the pure holy hell they always seem to raise.
    • 70 Metascore
    • 70 Critic Score
    Together We're Heavy
    Thankfully, the music overpowers DeLaughter’s weak voice.
    • 79 Metascore
    • 60 Critic Score
    Out Of The Shadow
    On many of the songs here, the accompaniment sounds like an afterthought, adding to the bedroom-recording atmosphere.
    • 72 Metascore
    • 60 Critic Score
    The Tipping Point
    As a listening experience, The Tipping Point is a decent album, a rough transition at best and a stumble at worst.
    • 75 Metascore
    • 80 Critic Score
    The Cure
    There are entirely too many nods to the past for this album to be a fresh start, yet it refuses to slip comfortably into place in their catalogue.
    • 66 Metascore
    • 70 Critic Score
    The Cover Up
    With The Cover Up, IATWTC does a better job of ripping off New Order, while often drawing from trance.
    • 76 Metascore
    • 80 Critic Score
    The Heat
    The Heat compares favorably to PJ Harvey’s Stories From the City, Stories From the Sea, offering the same NYCentric references (“9-11 baby boom”), gruff, understated guitar work and narrative aptitude. These are Malin’s stories from the city and they don’t disappoint.
    • 59 Metascore
    • 50 Critic Score
    ...it falls apart
    For as honest and beguiling as Foster's almost feminine falsetto might be, the themes being touched upon and, more importantly, the way in which Forster dabs at them so simply... causes this otherwise fine artistic expression to be slandered significantly.
    • 60 Metascore
    • 50 Critic Score
    Space Settings
    There are moments of brilliance, no doubt, scattered handsomely throughout this album, but the overall effect is one of frustration, and not simply the frustration associated with great musicians struggling to come up with interesting ideas, but the frustration we all experience with music as a whole.
    • 75 Metascore
    • 60 Critic Score
    The Concretes
    Music that’s easier to admire than love.
    • 73 Metascore
    • 70 Critic Score
    Afrodisiac
    Ultimately we can’t get a bead on Brandy precisely because she hasn’t yet figured it out herself.... Which is exactly what makes Afrodisiac such a fascinating exercise.
    • 68 Metascore
    • 50 Critic Score
    The Will To Death
    His intention here was to create something unpolished and free of studio edits, acting as contrast to Shadows. His result, unfortunately, reeks of squandered potential.
    • 81 Metascore
    • 100 Critic Score
    a ghost is born
    On almost every level, Jeff Tweedy and Co. have concocted the perfect follow-up to an epochal, career-defining record--taking greater risks and yielding deeper rewards--and finding more challenging ways to channel pain that just won’t quit.
    • 71 Metascore
    • 70 Critic Score
    In A Safe Place
    While not entirely successful throughout, it still contains enough majestic moments of sheer aural bliss to qualify as one of the most beautifully melodic down tempo-instrumental albums you are likely to hear this year.
    • 71 Metascore
    • 60 Critic Score
    Creature Comforts
    For all its surprises, Creature Comforts marks one of the first times Black Dice has sounded like a band in transition, and consequently lacks much of the serendipitous splendor of their previous efforts.
    • 66 Metascore
    • 60 Critic Score
    Waves Are Universal
    Goswell deserves praise for putting together a solid album that could appeal to both fans of her previous work and others.
    • 55 Metascore
    • 30 Critic Score
    Gettin' In Over My Head
    The evidence now seems indisputable that Wilson is completely, totally, finally spent as a creative force—as it is, we’re treading dangerously close to “How many failed collaborators does it take to produce a half-decent Brian Wilson album?” territory (answer: you can’t count that high).
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