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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- Critic Score
After a couple of plays, you're struck by Up's sonic cleverness. Three or four listens and the lyrical complexity begins to bite. Finally, and insidiously, after perhaps six or seven plays, the melodies bury themselves in your head. [Oct 2002, p.112]- Uncut
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On her underwhelming second album, we realise how nu-sould would sound stripped of all sonic invention, mischief and sensuality. [Dec 2002, p.151]- Uncut
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This is a very fine album... even if it's surprisingly business as usual in many respects. [Oct 2002, p.108]- Uncut
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The effect is a kind of ghostly reconfiguration of classic rock, from a band blessed with unique presence and an unusually melodious minimalism. Outstanding. [Oct 2002, p.108]- Uncut
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Demolition is further proof that his creative instinct is still intact. [Album of the Month, Oct 2002, p.100]- Uncut
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She's a brilliant reinterpreter and sounds far happier in Raitt territory than she ever did as a Morissette clone. [Feb 2003, p.84]- Uncut
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A considerable advance on predecessor 604.... This is sublime, subtle, subversive stuff. [Dec 2002, p.150]- Uncut
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Amply demonstrates the man's craft, the inherent strength of apparently fragile blooms added extra ballast by painterly shades of guitar, piano and strings. [Apr 2003, p.105]- Uncut
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- Critic Score
Squire's voice is awful, while his music and lyrics are those of a busker. [Nov 2002, p.113]- Uncut
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If Doe intended to create an interlocked set of pieces that sustained a mood of pensive reverie, he succeeded, though there's a marked shortage of ear-grabbing, individual songs. [Mar 2003, p.95]- Uncut
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This kind of hackneyed loungecore grammar sometimes sounds timeless and inspired, of course, but Adamson has a tendency to crowd routine melodies with superfluous guitars and clumsy beats. [Oct 2002, p.102]- Uncut
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A magnificently rich and confident debut.... This is how Fischerspooner should have sounded. [Dec 2002, p.142]- Uncut
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Her simple, repeitious music is predominantly listless and washed out. [Jun 2003, p.102]- Uncut
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Very pretty but as predictable as Haven's guaranteed elevation to the Indie Premiership before the summer's through. [Feb 2002, p.118]- Uncut
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May well come to be regarded as the best British rock album since OK Computer. [Sep 2002, p.118]- Uncut
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The most original debut by a Manchester band since Squirrel & G-Man Twenty Four Hour Paty People..., maybe even Unknown Pleasures. [Sep 2002, p.116]- Uncut
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Recalls the more amusing moments of Momus and Stereolab. [Nov 2002, p.116]- Uncut
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Their mischievousness is still palpable, but it's shot through with purpose, gumption and spectacular riff-raunch action. [Sep 2002, p.114]- Uncut
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A refinement of the country/folk/reggae/rock amalgam The Mekons have pursued for years. [Oct 2002, p.108]- Uncut
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One of the most adrenalising albums you'll hear this year. [Sep 2002, p.110]- Uncut
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The album's eight supple, textured tunes suggest Cornelius stripped of his art-jazz awkwardness, or even the molten sugar rush of My Bloody Valentine slowed to a beatific calm. [Nov 2002, p.128]- Uncut