Uncut's Scores
- Music
For 12,014 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: 9,031 out of 12014
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Mixed: 2,909 out of 12014
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Negative: 74 out of 12014
12014
music
reviews
- By Date
- By Critic Score
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- Critic Score
It is not hard to make fun of this band, even if you’re broadly sympathetic to their beliefs. But the atmosphere they create in their music is so heady, so insidious, so rooted in their environment and their Utopian ideals, that the whole package becomes compelling.- Uncut
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- Critic Score
Her brush with the big boys only appears to have strengthen her resolve on a collection of fierce country rockers. [Apr 2011, p.75]- Uncut
Posted Mar 29, 2011 -
- Critic Score
Perrett is back, in decent shape, and fully engaged with the world. [Aug 2017, p.18]- Uncut
- Posted Jun 27, 2017
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- Critic Score
This release overcompensates handsomely, delivering 48 sharp, gorgeous-sounding missives that document ensemble brilliance and Petty’s chiming, hook-happy American-everykid songwriting.- Uncut
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- Critic Score
What Day Is It Tonight?--culled from 15 years of recording since 1993--captures their tight ferocity in full force. [Feb 2010, p.104]- Uncut
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Posted May 23, 2011 -
- Critic Score
Murray Street contains some of the best music Sonic Youth have recorded since the landmark Daydream Nation in 1988. [Jul 2002, p.122]- Uncut
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- Critic Score
Another excellent set of verbose tunes delivered with the vocal swagger of Morrissey or Alex Kapranos, against a shimmering curtain of prime pop jangle. [Mar 2023, p.28]- Uncut
Posted Feb 2, 2023 -
- Critic Score
Ol' Frank hasn't had this much twisted fun since 1994's Teenager Of The Year. [Oct 2003, p.111]- Uncut
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- Critic Score
While it's very much a rock album... it kicks in a very 'now' way (this ain't Tin Machine). [Oct 2003, p.112]- Uncut
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- Critic Score
The Boy Named if is a thunderous, furious reconnection with the more splenetic chapters of his catalogue - though if there's a difference between this and Blood 7 chocolate or This Year's Model, it's that Costello here sounds like he's thoroughly enjoying himself. [Mar 2022, p.26]- Uncut
Posted Jan 14, 2022 -
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His debut illustrates a more prosaic act of creation, in which fastidious study is transformed into compelling new music. [Aug 2011, p.92]- Uncut
Posted Aug 19, 2011 -
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Revitalising his finest work with unlikely guests performing unlikely roles. [Jan 2020, p.31]- Uncut
Posted Dec 9, 2019 -
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Four vignettes offer reminders of Brian Eno's early ambient outings. ... But the slower evolution of three longer pieces, which nonetheless maintain this aesthetic, make them more potent. [Mar 2021, p.37]- Uncut
Posted Jan 27, 2021 -
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An exceptional, disarming collection of mutant electronic music. It’s a dense, disorienting 40 minutes of hyper-punctual edits, very tonally bright and often overwhelming; a sensorial bombardment. [Jun 2022, p.29]- Uncut
Posted Apr 27, 2022 -
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A reflection on memory and transience amid which his deadpan drawl is frequently draped in incongruous but effective orchestral splendour, while Finn’s character sketches are as deft as ever. [Jun 2022, p.26]- Uncut
Posted May 20, 2022 -
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There are many sterling moments to escape from Young's vault--but none seem quite as unguarded as the best ones here. [Jan 2014, p.84]- Uncut
Posted Dec 6, 2013 -
- Critic Score
Boldest of all is the grimy techno pulse and bass thrum of "Lake Disappointment", which pulls off a stylistic switch while maintaining the winningly smoky atmosphere of the album as a whole. [Mar 2025, p.31]- Uncut
Posted Feb 27, 2025 -
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Not so much a fusion as a cross-cultural collision. [May 2017, p.40]- Uncut
Posted Apr 3, 2017 -
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Pollard fleshes out his vaguely familiar melodies with inventive, unpredictably expansive arrangements. [July 2008, p.108]- Uncut
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Posted Jan 23, 2014 -
- Critic Score
Trent and Hearst have always been keen storytellers, digging deep into characters at loose ends, laying them out in the lyrics and then finding new depths and new sympathies in the performances. [May 2019, p.28]- Uncut
Posted Apr 11, 2019 -
- Critic Score
Drum machines and brass add a little range to the prettily strummed ethereal balladry. [Apr 2015, p.77]- Uncut
Posted Mar 18, 2015 -
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- Posted Jul 29, 2021
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- Critic Score
The sense of naive wonder evident recalls the bewitching power of Sigur Ros. [Apr 2011, p.75]- Uncut
Posted Mar 29, 2011 -
- Critic Score
It is intimate, sometimes almost conversational, and words are sighed, whispered, confided. Oddly, the more she pulls back, the more epic it sounds. [Jun 2016, p.68]- Uncut
Posted May 12, 2016 -
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It may not be fuelled by as many immediate hooks and gnarly grooves as The Overload, but it's a bold progression both musically and lyrically. [Mar 2024, p.24]- Uncut
Posted Feb 27, 2024 -
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"Slow Rise (To The Middle)" reels from the crush of diminished expectations amid instrumental interaction as heady as Oliver Wood's lyrical musings. [Sep 2025, p.39]- Uncut
Posted Aug 1, 2025 -
- Critic Score
What prevents this all from becoming a mish-mash of textures is Hoop's single-minded passion, which lends a self-assured cohesion to her diversity.- Uncut
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- Critic Score
The decades since Fogerty first recorded these tracks have perhaps cost him some of the high top and low bottom ends of that distinctive half-drawl-half-snarl with which a California kid reinvented himself as some Southern swamp monster, but across “Legacy” he sounds generally in vigorous form, verging in parts on the downright feral, and he is surely entitled to what is as much a vindication as a celebration. [Sep 2025, p.30]- Uncut
- Posted Aug 19, 2025
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