Uncut's Scores
- Music
For 12,018 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 | |
|---|---|---|
| Lowest review score: | Let Me Introduce My Friends |
Score distribution:
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Positive: 9,035 out of 12018
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Mixed: 2,909 out of 12018
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Negative: 74 out of 12018
12018
music
reviews
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- Critic Score
Persist though, and there are countless fascinating poly-rhythms and concealed melodies in the sub-strata. [Jan 2011, p.91]- Uncut
Posted Dec 20, 2010 -
- Critic Score
Parallel Memories is, in places, almost too minimal.... But Mitchell's softness of touch leads to some moving moments. [Jan 2015, p.75]- Uncut
Posted Dec 4, 2014 -
- Critic Score
If this is a window to his world, we can barely see a thing. [Mar 2016, p.76]- Uncut
Posted Feb 2, 2016 -
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Posted Jun 18, 2018 -
- Critic Score
There’s a new sense of maturity, even kindness, starting with “More Power”, a song of odd, regretful sentiments, reputedly addressed to Noel and full of family references. ... Songs mostly remain Frankenstein stitch-ups, though: Jeff Lynne’s softly simulated psychon the Threetles’ “Real Love” seems the production template, when not mixed for terrace power, minus tunes. [Jun 2022, p.26]- Uncut
Posted May 26, 2022 -
- Critic Score
There are a handful of stunning instrumentals, but the revelations here are Lanois' singing and songwriting. [May 2003, p.102]- Uncut
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- Critic Score
Silver Lining finds her on top form as guitarist, writer and interpreter. [May 2002, p.108]- Uncut
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- Critic Score
The addition of Chad Kelly's orchestral arrangements to the band's initial recordings strikes decisive new ground. [Jul 2025, p.30]- Uncut
Posted Jun 10, 2025 -
- Critic Score
Wong works up from trickling sounds as seemingly innocuous as mid-morning TV music to a rumbling, looped ferocity. [Mar 2012, p.107]- Uncut
Posted Feb 22, 2012 -
- Critic Score
[His] voice bulldozes everything in its path, flattening melody and obliterating nearly every sentiment on this overzealous album. [Feb 2018, p.24]- Uncut
Posted Jan 10, 2018 -
- Critic Score
It's an ingenious arrangement, featuring juddering, minimal percussion, spare piano chords and vocoders that soar to the edge of the studiosphere, worth the price of the album alone. [Mar 2012, p.84]- Uncut
Posted Mar 7, 2012 -
- Critic Score
An album as heartfelt as it is musically and thematically ambitious. [Jul 2012, p.67]- Uncut
Posted Aug 8, 2012 -
- Critic Score
The most rewarding moments, though comes on those tracks which retain a more authentic Ethiopiques mystery. [May 2020, p.31]- Uncut
Posted Apr 10, 2020 -
- Critic Score
Evocative of Harry Nilsson and Randy Newman at their most extroverted, McKenzie’s songs provide great warmth, too. [Sep 2022, p.28]- Uncut
Posted Aug 26, 2022 -
- Critic Score
No One Is Lost does what Stars do: uplifting songs with catchy hooks and gorgeous arrangements. [Dec 2014, p.80]- Uncut
Posted Nov 11, 2014 -
- Critic Score
Finds itself caught between emulating the original's enviable qualities and overhauling its almost four-decade habits. [Aug 2023, p.36]- Uncut
Posted Jul 7, 2023 -
- Critic Score
While the ideas are sometimes thin, the delivery is invariably wry and charming. [Aug 2013, p.77]- Uncut
Posted Jul 10, 2013 -
- Critic Score
They're immersed in keyboard-assisted '80s pop and brooding white soul, with overtones of New Order and Lloyd Cole, while XCox's Morrissey-like vocals again underscore their love of The Smiths. [Sep 2014, p.75]- Uncut
Posted Aug 19, 2014 -
- Critic Score
Most of the songs are breezy reflections on romance--even two Q-Tip productions lack bite--but its melodious artiness is engaging. [Apr 2012, p.84]- Uncut
Posted Mar 16, 2012 -
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- Critic Score
Her blowsy voice now seems happier in those quieter settings. [May 2008, p.104]- Uncut
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- Critic Score
Snotty wit can be heard on the droll "Down On Loving" or the splenetic "Parasites," probably the best examples of the Ramones-via-Replacements sound that defines the album. [Apr 2010, p.90]- Uncut
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Posted Mar 29, 2012 -
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Posted Apr 17, 2012 -
- Critic Score
This impressively diverse and full-bodied debut by 22-year-old Parisian producer Jeremy Guindo is a heartening advert for electronic dance music's blissful spirit of perpetual self-renewal. [Jan 2013, p.71]- Uncut
Posted Dec 11, 2012 -
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Posted Jul 26, 2013 -
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Posted Aug 1, 2013 -
- Critic Score
It's hypnotic and mind-altering, like a fruitful collision between Boredoms, Neu! and the Grateful Dead. [Jul 2013, p.78]- Uncut
Posted Aug 8, 2013 -
- Critic Score
This time the compositions are still thoughtful and exploratory and, although a tendency to emphatic angst dulls on the over-earnest, producer Mark Hutchinson is fully attuned to Dunlop's musical resourcefulness. [Jun 2014, p.75]- Uncut
Posted Jun 11, 2014 -
- Critic Score
The skinned-back arrangements on the self-produced Madman isolate his voice's primal expressiveness and the plainspoken emotion of his songs. [Nov 2014, p.81]- Uncut
Posted Sep 25, 2014