The 405's Scores

  • Music
For 1,530 reviews, this publication has graded:
  • 57% higher than the average critic
  • 4% same as the average critic
  • 39% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 Anthology: Movie Themes 1974-1998
Lowest review score: 15 Revival
Score distribution:
1530 music reviews
    • 82 Metascore
    • 80 Critic Score
    This brand of tell-all genreless rock may seem impenetrable at first, but a few listens is all it takes before you’ll be hooked by Richard Dawson’s paranoia, honesty and poetry.
    • 76 Metascore
    • 80 Critic Score
    No Life For Me might be fast, but my god, will you enjoy the ride.
    • 83 Metascore
    • 80 Critic Score
    Wildflower might not be perfect, but it is gorgeous, heartwarming and fun. Its upbeat outlook is infectious and sure to be the soundtrack to many summers to come.
    • 80 Metascore
    • 80 Critic Score
    For those who are willing and eager to succumb to Stetson’s idiosyncratic sound, pressing play on this album is like stepping into his wilderness, and if you’re prepared to be battered by typhoon-like playing and virtuosic arrangements of sound, then you’ll come out the other side thrilled and refreshed.
    • 81 Metascore
    • 80 Critic Score
    Six albums in, Hot Chip are still making stunning pop records filled with a barrage of dancefloor wonders that are packed with heart and soul. That's enough to show why we still need Hot Chip in our lives.
    • 80 Metascore
    • 80 Critic Score
    So whilst there are shades of Jan St. Werner, Brian Eno and Yellow Magic Orchestra, the result is a series of soundscapes like nothing else.
    • 75 Metascore
    • 80 Critic Score
    What Now contemplates private change of circumstance and personhood with pathos, kindness, and humour, and bangs fervidly in the process.
    • 72 Metascore
    • 80 Critic Score
    They haven't changed their sound, more developed it. They've kept the rawness, the pop songwriting and uncompromising attitude but pushed it sonically further than many would have ever expected them to.
    • 84 Metascore
    • 80 Critic Score
    Not one second of How To Die in the North feels over-worked or incongruous.
    • 71 Metascore
    • 80 Critic Score
    A truly wonderful record that deserves attention, as does the work of Arthur Russell.
    • 81 Metascore
    • 80 Critic Score
    Impressions is a special record, coloured by climbing compositions as cavernous spaces of reflective quiet. It’s deeply feeling, and deeply felt.
    • 80 Metascore
    • 80 Critic Score
    He is undoubtedly an absurdly talented fellow, and has the creative potential to make a truly ground breaking album. This isn’t that, but it is a strong debut.
    • 68 Metascore
    • 80 Critic Score
    There's an abundance of feelings created in the listener from this album when played in full.
    • 88 Metascore
    • 80 Critic Score
    From the very start you can hear and see the ideas that were explored in the clips and videos stretched to their fullest, most histrionic range.
    • 61 Metascore
    • 80 Critic Score
    As usual with Cooly, the sound selection is on point, as an 808 cowbell is included in the arrangement.
    • 65 Metascore
    • 80 Critic Score
    Each of the ten (plus one bonus) tracks has earned their place here and sits on the tracklisting proudly as such, leaving none of the excess that sometimes plagued their earlier releases.
    • 78 Metascore
    • 80 Critic Score
    Despite its otherwise grim title, it plumbs emotional depths even further and creates a more vivid and exciting picture of what Clark is capable of this late in his career, and why all of the hype surrounding him from the beginning was more than credible.
    • 81 Metascore
    • 80 Critic Score
    Despite the mechanized nature, the depth of texture on show here is astounding, and HIDE definitely know how to play with space as well as sound.
    • 80 Metascore
    • 80 Critic Score
    It is the album's ability to create such an immersive experience with relatively few constituent parts that makes this Ryan Lee West's finest release to date.
    • 84 Metascore
    • 80 Critic Score
    Siblings is not an easy listen, but it is a fantastically varied one. Self is at his most compelling when he is contrasting anarchic beats and chopped up vocals with more standard pop composition. It may take me another few dozen listens to fully understand the structure of Colin Self’s new album. That can only be to his credit.
    • 79 Metascore
    • 80 Critic Score
    Through Girlpool's seven tracks, the band grow into their make-up as a two-piece with aplomb, complementing each other with both voice and instruments.
    • 75 Metascore
    • 80 Critic Score
    Repeated listening will take you down new paths, unlocking Easter eggs along the way; immersive, entrancing and absolutely non-linear.
    • 68 Metascore
    • 80 Critic Score
    The new sound stands up straight as the original iteration, but is backed by the depth of his previous work.
    • 77 Metascore
    • 80 Critic Score
    Power is richly produced, up-beat in the pop mould at times, and tugging away at something deeper at others.
    • 83 Metascore
    • 80 Critic Score
    It’s a hurricane of pop-punk fury with as much ferocity as anything the band recorded 25+ years ago.
    • 80 Metascore
    • 80 Critic Score
    DS2
    Four years after dropping his breakout mixtape, the follow-up is an exultant street album.
    • 79 Metascore
    • 80 Critic Score
    It is a record that keeps listeners in mind, attempting to make sense of all of these painful feelings and moments in order to offer all-encompassing advice on life’s fleeting nature and on whether or not it’s still worth investing in love.
    • 82 Metascore
    • 80 Critic Score
    This is Brockhampton at their funkiest and most playful, but it’s also Brockhampton at their finest.
    • 76 Metascore
    • 80 Critic Score
    It illustrates how electronic music can be warm, natural, or even organic; it shows us that jazz can be combined with sub bass to create something immensely powerful; it portrays how the avant-garde can greet elements of traditional melody with open arms; and, perhaps most importantly, it exhibits the power of a producer who sees and hears no boundaries.