Uncut's Scores

  • Music
For 12,014 reviews, this publication has graded:
  • 50% higher than the average critic
  • 5% same as the average critic
  • 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
Score distribution:
12014 music reviews
    • 79 Metascore
    • 80 Critic Score
    A genuine quartet record. [Jan 2023, p.18]
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    • 80 Metascore
    • 80 Critic Score
    Us
    Poppily uplifting, Us is an album with drowning depths. [Apr 2003, p.114]
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    • 82 Metascore
    • 80 Critic Score
    Pedigo is often plugged in, his nimble fingerpicking surfing waves of sludge guitar. But there are moments of unlikely beauty too. [Nov 2025, p.31]
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    • 79 Metascore
    • 80 Critic Score
    There is a dreamy, unconscious quality to the way Marshall inhabits a song. The covers sessions were big on spontaneity. [Feb 2022, p.22]
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    • 89 Metascore
    • 80 Critic Score
    It feels as though the band have carved out a new sonic space for them to operate in while still retaining their own identity. [Sep 2024, p.32]
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    • 77 Metascore
    • 80 Critic Score
    Enumclaw’s second album further confirms the impression of a group combining most of the virtues of The Replacements at their snottiest and Violent Femmes at their most confrontationally awkward. [Sep 2024, p.30]
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    • 79 Metascore
    • 80 Critic Score
    A slate-cleaning exercise that positively radiates contentment. [Jun 2005, p.102]
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    • 77 Metascore
    • 80 Critic Score
    The result is a revelation. “As Above So Below” and the joyous, sax-assisted “Love Weapon” positively glow, Clément’s gentle chanson like a golden cord that guides you through their labyrinthine twists and turns. [Dec 2024, p.35]
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    • 84 Metascore
    • 80 Critic Score
    Everything on Little Oblivions will make you feel, and it's the catharsis we all need. [Mar 2021, p.26]
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    • 71 Metascore
    • 80 Critic Score
    An astonishingly primal album. [Aug 2006, p.93]
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    • 74 Metascore
    • 80 Critic Score
    Ballads Of Harry Houdini brandishes a sharper focus than many of its predecessors, with “Barfighter” and “Devil Tongue” bristling with tension and those signature guitar lines that move like wreaths of smoke. [Review of the Year 2024, p.34]
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    • 75 Metascore
    • 80 Critic Score
    Translated From Love utterly captures Kelly Willis' oft-wayward talent. [Oct 2007, p.115]
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    • 81 Metascore
    • 80 Critic Score
    It’s hard to resist the sensory impact of these songs. Chemtrails picks up the nostalgic thread of 2019’s Norman Fucking Rockwell!, though here she’s mostly Midwest and more melodic. [Jun 2021, p.25]
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    • 87 Metascore
    • 80 Critic Score
    It’s a welcome return, to say the least.
    • 76 Metascore
    • 80 Critic Score
    If the Plastic Beach-era material gets a bit bogged down in the concept, it's not without its moments. [Jan 2012, p.86]
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    • 83 Metascore
    • 80 Critic Score
    Songhoy Blues take the fusion of West African desert rhythms and rock'n'roll a further step down the road trodden so thrillingly by Tinariwen. [Mar 2015, p.81]
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    • 83 Metascore
    • 80 Critic Score
    [A] darkly compelling new album. [May 2017, p.24]
    • 65 Metascore
    • 80 Critic Score
    It's a perfect match with producer Richard Hawley, who here channels his love of epic reverb pop to more interesting ends than on his solo albums. [Dex 2008, p.86]
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    • 73 Metascore
    • 80 Critic Score
    The album sound stultifying, but this is far from the case, thanks to a steady stream of surprises and a depth of detail that reveals itself incrementally.
    • 79 Metascore
    • 80 Critic Score
    It's droll, evocative and occasionally moving. [Jun 2018, p.30]
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    • 77 Metascore
    • 80 Critic Score
    This stellar set is anchored by existential bar-band thumper 'Just About Time' and 'homeland Refugees.' [May 2009, p.86]
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    • 71 Metascore
    • 80 Critic Score
    Eleventh Dream Day may be getting on, but there are no signs of them growing stale. [Apr 2011, p.80]
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    • 79 Metascore
    • 80 Critic Score
    The threesome manage to toe the very fine line between control and chaos, suppression and release. [Jan 2024, p.34]
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    • 70 Metascore
    • 80 Critic Score
    Her husky drawl of a voice remains as precious and fragile as a chandelier, and it well suits these insidiously melodic, intimate songs. [Oct 2009, p.110]
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    • 71 Metascore
    • 80 Critic Score
    It is the instrumentation that offers the complexity, bringing texture to this deceptively simple-sounding album. [Jun 2013, p.72]
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    • 79 Metascore
    • 80 Critic Score
    The retro-futurist fun peaks with the bopping space-disco of the title track and the irresistible "Refractions (In The Rain)," while loungey sax and self-help guides to meditation smooth "On The Other Side..."'s journey to the stars. [Nov 2021, p.27]
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    • 88 Metascore
    • 80 Critic Score
    Exuberant opener "Sushi And Coca-Cola" signals Philip Janeway's intention to loosen up, which he reiterates in the "I saw the light" refrain of "Ooo Wee". The band morphs into The Four Tops on "Nothing More Lonely". [Nov 2025, p.39]
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    • 84 Metascore
    • 80 Critic Score
    Blood Bitch confirms her singular methodology is now at its most surgically precise and bold. In realising her uncontainable ambitions, one might even suggest it represents Hval's coming of age. [Oct 2016, p.38]
    • 78 Metascore
    • 80 Critic Score
    As with Daft Punk's Discovery and Playgrou's eponymous 2001 debut LP, Handcream For A Generation puts fun back on the agenda, offering a blurry picture of marathon socialising and the frazzled warmth of the morning after the night before. [Album of the Month, May 2002, p.88]
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