Uncut's Scores
- Music
For 12,056 reviews, this publication has graded:
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50% higher than the average critic
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5% same as the average critic
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45% lower than the average critic
On average, this publication grades 0.8 points lower than other critics.
(0-100 point scale)
Average Music review score: 72
| Highest review score: | Miles Davis at Newport: 1955-1975 The Bootleg Series, Vol. 4 | |
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| Lowest review score: | Let Me Introduce My Friends |
Score distribution:
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Positive: 9,070 out of 12056
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Mixed: 2,912 out of 12056
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Negative: 74 out of 12056
12056
music
reviews
- By Date
- By Critic Score
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It's probably the most personal project of Gilmour's career. [Apr 2006, p.108]- Uncut
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It's sleek, goth-leaning alt.pop, but ILYBICD's music ultimately leaves less of an impression than their band name. [May 2006, p.109]- Uncut
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Their naggingly overused Farfisa is balanced by otherwise beautifully layered, complex arrangements of trombone, electronics and harmony vox. [Apr 2006, p.118]- Uncut
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Mudhoney these days, for all their pioneer status, mostly just sound like a regular, decent rock band. [Apr 2006, p.105]- Uncut
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Mr Beast, by Mogwai's normally formidable standards, underwhelms. [Apr 2006, p.96]- Uncut
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Recalls Lee Hazlewood and Nancy Sinatra in the way it mingles dark and light, hard and soft, innocence and experience. [Feb 2006, p.80]- Uncut
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With Fox Confessor, she has defiantly come into her own. [Apr 2006, p.106]- Uncut
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It would be fanciful, not to mention disrespectful, to say that Morrison has waited his whole career to make this album. But he makes it sound like he has. [Apr 2006, p.96]- Uncut
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A downbeat, solipsistic but utterly beautiful amalgam of mood-altering substances and 1980s alt.rock. [Mar 2006, p.100]- Uncut
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It's the vivid, virulent product of the Maels' warped imaginations. [Mar 2006, p.90]- Uncut
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Even fans of their main groups might feel that its sole purpose is to emphasise the 'trial' in 'terrestrial'. [May 2006, p.124]- Uncut
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Inhabiting the same last-dance ballroom as Portishead's noir torch songs, this monument to ennui is prettily impressive. [Mar 2006, p.90]- Uncut
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Smoothes the edges between Jamaican sound-system bass, calypso rhythm, Middle Eastern melody and vintage soul. [Apr 2006, p.110]- Uncut
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At times, it's as if he's paying homage to his touchstones rather than using them for grist. [Apr 2006, p.114]- Uncut
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Their sound is now driven by a dark undertow, with heavy psych-rock and muscly R&B inflections. [May 2006, p.119]- Uncut
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The band's trademark guitars [are] so polished you can almost whiff the Mr Sheen. [Apr 2006, p.98]- Uncut
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Nine Black Alps possess a secret weapon befitting a band whose emergence sparked a transatlantic A&R scramble: tunes. [Jun 2005, p.104]- Uncut
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Whether you love or hate The Research will depend upon your tolerance for cheap keyboards. [Mar 2006, p.103]- Uncut
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Arbez not only shatters the risible notion that dance music is currently unwell, he also presents thrilling new ways of approaching pop, folk and rock'n'roll. [May 2005, p.100]- Uncut
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It's certainly more assured and less wilfully angsty than Cast Of Thousands. However, it still lacks the special unified mood or thread of Asleep. [Oct 2005, p.110]- Uncut
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The thrill it provides will send a shiver of recognition through anyone who grew up with The Specials, The Smiths or Parklife. [Album of the Month, March 2006, p.86]- Uncut
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Even when Orbit treads water--which by and large he is with this record--the ripples resonate beautifully. [Mar 2006, p.104]- Uncut
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The implausible but winning transformation is complete: Arab Strap have made a genuinely uplifting record. [Dec 2005, p.109]- Uncut
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A beguiling mix made more loveable by its melancholic core. [Aug 2006, p.100]- Uncut
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A great album but, compared to their live shows, this is like listening to a circus. [Aug 2006, p.100]- Uncut
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The raw poetic facade occasionally cracks, but there is something special here. [Mar 2006, p.88]- Uncut
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Initially seems more listener-friendly than Volume 1... [but] Congotronics remains radical listening. [Jan 2006, p.125]- Uncut
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At their best when strings and horns--even a sousaphone--let some air flood through a dense mix, they could even be an American Supergrass in waiting. [Sep 2006, p.89]- Uncut
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Beneath their limpid surfaces, Mark "E" Everett's songs are volatile dollops of emotional explosive. [Mar 2006, p.98]- Uncut
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It's an odd confection, part digitally-lush Spector-pop, part Dido-esque thirtysomething ennui. [Feb 2006, p.68]- Uncut
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Some occasional local-band lyricism proves to be an Achilles Heel. [Sep 2005, p.108]- Uncut
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Mullins is a solid, occasionally platitudinous songwriter whose rustic tales don't approach the wry, wise gifts of similar artists like Johns Prine and Hiatt. [Mar 2006, p.88]- Uncut
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As primers go, it's close to definitive. [Mar 2006, p.112]- Uncut
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Without altering her style drastically, Orton has broadened her approach on what is her most accomplished record to date. [Mar 2006, p.94]- Uncut
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A bunch of amazing songs that combine the passion of early Sinead O'Connor with the craft of Christine McVie. [Jan 2005, p.124]- Uncut
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Hard not to admire his audacity as much as his ear for a great drivetime radio riff.- Uncut
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His cluttered beatscapes suggest random sounds in search of a meaning. [Mar 2006, p.103]- Uncut
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The 'contemporary classical' tag doesn't do justice to their cinematic, intense instrumental narratives. [Mar 2006, p.104]- Uncut
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Collett's debut album reveals him as an alt.country confessionalist akin to Paul Westerberg. [Apr 2006, p.108]- Uncut
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His home-recorded approach reaches imaginatively beyond glossy pastiche. [Mar 2006, p.90]- Uncut
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Recall[s] the tin-pot vigour and gutsy emotional bite of... Guided By Voices. [Mar 2006, p.94]- Uncut
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The occasional ordinary moment confirms a suspicion that Sway only really excels when he's playing the comic foil. [Mar 2006, p.88]- Uncut
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This is a cool dance album... but Tiga lacks that all-important 'X factor'. [Mar 2006, p.100]- Uncut
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If Saint Etienne are finally growing up, this wistful adulthood becomes them. [Jul 2005, p.96]- Uncut
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It's primitive, geezerish stuff but lacks, say, the finesse and humour of contemporary Mike Skinner's work. [Oct 2005, p.112]- Uncut
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Similarly to Lambchop's Nixon, it weaves together new and old, soul and country, black and white, love and hate, to form an understated masterpiece. [Feb 2006, p.74]- Uncut
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Their third album sees them toughening up some, with much of their whimsical dreaminess tramped underfoot in their seeming desire to become a more conventional, NME-friendly, rock band. [Feb 2006, p.81]- Uncut
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There's more here for Oldham fans than Tortoise fanciers. [Feb 2006, p.76]- Uncut
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It's all far more familiar than might be expected. [Nov 2005, p.111]- Uncut
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[The Gossip] have evolved a blend of rough and impassioned garage-soul that owes as much to Tina Turner, Peggy Lee and The Ronettes as it does to Sonic Youth and The White Stripes. [Mar 2006, p.96]- Uncut
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This mass-market music deserves more than a minority audience. [Feb 2006, p.75]- Uncut
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The ambition's hampered by Julian Casablancas' sad-sack singing. [Feb 2006, p.68]- Uncut
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Nope, this is not easy listening, yet he's never made a more beautiful album. [Jan 2006, p.108]- Uncut
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If the reheated Odelay-isms of last year's Guero felt like a tactical move in the wake of the soul-bearing torment of Sea Change, Guerolito has an equally hollow ring. [Feb 2006, p.86]- Uncut
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Korn are too lumpen to handle 'sophisticated.' [Jan 2006, p.102]- Uncut
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This is fizzy, superficial pop by a band convinced they're making classic rock. [Dec 2005, p.114]- Uncut
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At first it's too Linda Perry; soft-rock with feminist principles. [Mar 2006, p.96]- Uncut
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Restlessly inventive, Hot Chip also manage what many bedroom eclectics don't: crafting a genuinely organic, proper album, and the relaxed enthusiasm that drives this debut is absurdly infectious. [Jun 2004, p.94]- Uncut
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In many ways [it] seems in thrall to its predecessor. As a study in System Of A Down's multifarious strengths and occasional weaknesses, however, it's indispensable. [Jan 2006, p.110]- Uncut
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As an oasis of calm in a world of noise and chaos, it's easy to understand her appeal. [Jan 2006, p.114]- Uncut
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The trio only really let loose on their sprawling, wailing cover of Jonathan Richman's "Don't Let Your Youth Go To Waste." [Feb 2006, p.86]- Uncut
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Such a heady, high-octane swirl that, perversely enough, you often forget you're listening to a Madonna record. [Dec 2005, p.102]- Uncut
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Although Father Divine ultimately feels more like a sketchbook than a coherent work, Ladd's doodles contain more fertile ideas than most artists' finished albums. [Mar 2006, p.91]- Uncut
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In this live setting, fascinatingly, the brutality to which the songs are subjected only serves to underscore their poignancy. [Dec 2005, p.100]- Uncut
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With Oberst's frail and quavering but steel-lined voice high in the mix, it clarifies how exceptional his lyrics are, and what exactly they're about. [Jan 2006, p.104]- Uncut
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Gira's Angels side... loses its way in bluster and dirge. The Akron tracks, however, are a revelation. [Dec 2005, p.109]- Uncut
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A madly ambitious, darkly despondent and goofily exuberant grand folly of a record. [Album of the Month, Dec 2005, p.98]- Uncut
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Even with Rubin dialling things back, the material grabs the listener by the collar and holds on tight. [Album of the Month, Feb 2006, p.66]- Uncut
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Your appreciation of Scab Dates will be predicated on a high tolerance to long bongo solos and songs called things like "Abrasions Mount The Timpani". [Jan 2006, p.113]- Uncut
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A fascinating document... Only select morsels, though... will make your GBV mix tape. [Jan 2006, p.120]- Uncut
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The best you can say is that it's a great marketing ploy. [Dec 2005, p.112]- Uncut
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An outstanding record which you'd be unwise to miss. [Aug 2004, p.91]- Uncut
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If last year's engrossing, infuriating Blueberry Boat revealed the Friedbergers as a uniquely strange and perversely ambitious proposition, Rehearsing My Choir, remarkably, trumps it, striking a chord of real feeling alongside the pell-mell fabulation. [Dec 2005, p.110]- Uncut