Uncut's Scores
- Music
For 11,994 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
| 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: 9,013 out of 11994
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Mixed: 2,907 out of 11994
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Negative: 74 out of 11994
11994
music
reviews
- By Date
- By Critic Score
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- Critic Score
Producer Hal Wilner again helms this follow-up but the chemistry proves more fitful. [Apr 2011, p.80]- Uncut
Posted Mar 29, 2011 -
- Critic Score
The band's one weakness lies in the voice of Orkney folk obsessive Erland Cooper, a thin, plain instrument that fails to engage. But the unpredictable, symphonic arrangements of "Emmeline" and the title track make exciting connections between ancient and modern with a dark nonchalance, [Apr 2011, p.80]- Uncut
Posted Mar 29, 2011 -
- Critic Score
Eleventh Dream Day may be getting on, but there are no signs of them growing stale. [Apr 2011, p.80]- Uncut
Posted Mar 29, 2011 -
- Critic Score
Perhaps they should have been more democratic in the past, because this is a terrific record that plays to The Strokes; Strengths and also adds fresh colour to their palette. [Apr 2011, p.79]- Uncut
Posted Mar 29, 2011 -
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Posted Mar 29, 2011 -
- Critic Score
The poacher has turned into a sophisticated gamekeeper, plotting a course on this fine debut between pulsing cosmic electronics and trippy, after-hours pop. [Apr 2011, p.78]- Uncut
Posted Mar 29, 2011 -
- Critic Score
A joyfully inspired album from a band who give pomp a good name. [Apr 2011, p.78]- Uncut
Posted Mar 29, 2011 -
- Critic Score
At 14 tracks, what begins as a demonstration of impressive ambition ends up dragging. [Apr 2011, p.78]- Uncut
Posted Mar 29, 2011 -
- Critic Score
Smith's squeaky, adenoidal vocal, long a barrier to Danielson's popular acceptance, has softened somewhat, while the band are in fine form. [Apr 2011, p.78]- Uncut
Posted Mar 29, 2011 -
- Critic Score
It's Cervenka's superb vocals that make this a carer highlight. [Apr 2011, p.77]- Uncut
Posted Mar 29, 2011 -
- Critic Score
While not quite a handbrake turn, No witch shows a band moving out of the woods into wider spaces. [Apr 2011, p.77]- Uncut
Posted Mar 29, 2011 -
- Critic Score
They've sorted through a kitbag of 80 songs and made good on the potential. [Apr 2011, p.77]- Uncut
Posted Mar 29, 2011 -
- Critic Score
Collapse Into Now can only sound like an afterthought, but it nevertheless one which bristles and fizzes with invigorating qualities of wit and fury. [Apr 2011, p.76]- Uncut
Posted Mar 29, 2011 -
- 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
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
A dizzying positivity is the constant in this adventure in fractal sonics. [Apr 2011, p.75]- Uncut
Posted Mar 29, 2011 -
- Critic Score
Several tunes put the talents of Bradford-based Hladowski siblings Chris and Stephanie to stunning effect on vocals and amplified bouzouki respectively. [Apr 2011, p.75]- Uncut
Posted Mar 29, 2011 -
- Critic Score
Josh Pearson has gone there so we don't have to--we should be grateful he's returned to tell the tale. [Apr 2011, p.72]- Uncut
Posted Mar 29, 2011 -
- Critic Score
The Leeds-based electro-rock five-piece set their sights shamelessly high on this grandiose second LP, a novelistic collection of characters journeying through a lavish panorama of cinematic sounds. [Mar 2011, p.101]- Uncut
Posted Mar 23, 2011 -
- Critic Score
The Luyas concentrate on sounding endearing rather than epic. [Mar 2011, p.94]- Uncut
Posted Mar 23, 2011 -
- Critic Score
More often than not, Ben appears to be channeling his hero JJ Cale, although the spirited title track doffs a beret in the direction of Richard Thompson. [Mar 2011, p.97]- Uncut
Posted Mar 23, 2011 -
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Posted Mar 17, 2011 -
- Critic Score
There's no grief-striken balladry, though: Michel Poiccard namely sticks to the helium noise vandalism template set by 2008 debut Worldwide, with the addition of some surprisingly winsome pop excursions in a similar vein to The Drums. [Mar 2011, p.86]- Uncut
Posted Mar 15, 2011 -
- Critic Score
All suggest that this band is in the process of remaking itself for a vital midlife. [Mar 2010, p.85]- Uncut
Posted Mar 15, 2011 -
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Posted Mar 10, 2011 -
- Critic Score
Ringo Deathstarr here reveal their maxi-cranked, MBV/Jesus and Mary Chain adoration in full. [March 2011, p. 99]- Uncut
Posted Mar 10, 2011 -
- Critic Score
Living With Yourself showcases McGuire's playing with minimal adornment. [Nov 2010, p.94]- Uncut
Posted Mar 10, 2011 -
- Critic Score
This, assembled by Menahan Street Band guitarist Tom Brenneck, painstakingly recreates the tropes of classic '60s Southern soul--impassioned vocals, shimmering guitars and fruity horns. [Mar 2010, p.85]- Uncut
Posted Mar 8, 2011 -
- Critic Score
Johns eliminates the melodramatic slow builds and punches up the groove quotient, much as he did for Ryan Adams on the similarly melancholy Heartbreaker. [Mar 2011, p.85]- Uncut
Posted Mar 8, 2011 -
- Critic Score
It finds her singing in an appealing vibrato somewhere between Dolly Parton and Stevie Nicks. Her Aesthetic, though, is a million miles from the lacquered gloss of either as she delivers her lyrics of desperate melancholia over a raw, all-hope-is-gone sound which conjures the emotional brutality of Tonight's The Night. [Feb 2011, p.99]- Uncut
Posted Mar 8, 2011