Uncut's Scores

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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: 100 Miles Davis at Newport: 1955-1975 The Bootleg Series, Vol. 4
Lowest review score: 10 Let Me Introduce My Friends
Score distribution:
  1. Positive: 9,013 out of 11994
  2. Mixed: 2,907 out of 11994
  3. Negative: 74 out of 11994
11994 music reviews
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    • 82 Metascore
    • 80 Critic Score
    Ears
    A modern new-age gem. [May 2016, p.79]
    • Uncut
      • Posted Apr 12, 2016
    • 72 Metascore
    • 80 Critic Score
    Dove
    It sounds, to its considerable credit, very much like the record that might have followed. [Jun 2018, p.24]
    • Uncut
      • Posted May 1, 2018
    • 82 Metascore
    • 80 Critic Score
    Nomad
    The music is bewitching enough to seduce even those with the severest crystal allergy. [Jun 2020, p.36]
    • Uncut
      • Posted Jun 12, 2020
    • 75 Metascore
    • 80 Critic Score
    Bashed Out
    It's an understated yet absorbing work, full of delicate arrangements that are elegantly swept along by Stables' gloriously tender vocals. [May 2015, p.83]
    • Uncut
      • Posted Mar 31, 2015
    • 66 Metascore
    • 80 Critic Score
    Up From Below
    They deliver a debut of confidence and conviction. [Oct 2009, p.112]
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    • 82 Metascore
    • 80 Critic Score
    Eska
    So distinctive and confessional is Eska's voice that she's created a British pastoral music that defies classification. [May 2015, p.73]
    • Uncut
      • Posted Apr 27, 2015
    • 81 Metascore
    • 80 Critic Score
    Rooting for Love
    The south of France motorik and funk bass of "Protéïformunité" similarly reassure, before "Don't Forget You're Mine" charts choppier waters and communication breakdowns. "The Inner Smile" returns to Sadier's central quest, propelling her mantras of sexual and global reg=integration with eruptive, flute-heavy prog grooves. [Feb 2024, p.35]
    • Uncut
      • Posted Feb 22, 2024
    • 75 Metascore
    • 80 Critic Score
    Molina And Johnson
    Molina's downhome style and tender vocals coalesce with Johnson's frugger voice on minor marvels like "Almost Let You In" and "Twenty Cycles To The Ground", while the tidal hum and strum of "Now, Divide" is moodily unusual. [Dec 2009, p. 103]
    • Uncut
    • 84 Metascore
    • 80 Critic Score
    A Danger To Ourselves
    Meticulously crafted, haunted and hypnotic. [Sep 2025, p.31]
    • Uncut
      • Posted Sep 4, 2025
    • 84 Metascore
    • 80 Critic Score
    The Great Bailout
    Muttered vocals and jazzy trumpet combine on the unsettling “God Save The Queen”, and even Mary Lattimore’s harp and Lonney Holley’s graceful voice can’t disguise “Guilty”’s uncomfortable challenges. [Jun 2024, p.37]
    • Uncut
      • Posted Apr 26, 2024
    • 84 Metascore
    • 80 Critic Score
    Negro Swan
    Negro Swan sees Hynes thoughtfully explore themes of racial and sexual identities and anxieties within songs that can be a s gorgeously vaporous as "Take Your Time," as ecstatically funky as "Charcoal Baby," or any state inbetween. [Oct 2018, p.24]
    • Uncut
      • Posted Aug 23, 2018
    • 79 Metascore
    • 80 Critic Score
    No, You C'Mon
    It's not hard to work out that these two albums really do function as a double, and certainly represent the group's most complete work to date. [combined review of both discs; Feb 2004, p. 68]
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    • 81 Metascore
    • 80 Critic Score
    Ace
    Incorporates orchestral flourishes and ambitious compositions into a full-bodied, emotionally bruising documents of divorce, betrayal, new love and self-discovery. [Review of the Year 2025, p.23]
    • Uncut
      • Posted Nov 10, 2025
    • 82 Metascore
    • 80 Critic Score
    Long March Through The Jazz Age
    It’s a deep, melodic record, preoccupied – as you might expect from a sixty-something punk troubadour – with dreams, small kindnesses and the end of the world; all of these things feeling suddenly more prominent. [Review of the Year 2025, p.22]
    • 85 Metascore
    • 80 Critic Score
    R.E.M. at the BBC [Box Set]
    Proves that even when their studio work was in the doldrums, REM were never less than a compelling live band. [Dec 2018, p.47]
    • Uncut
      • Posted Oct 23, 2018
    • 73 Metascore
    • 80 Critic Score
    Dropout Boogie
    A “Time Of The Season”-like Latin groove powers standout “It Ain’t Over”, syncopated by percussionist Sam Bacco, whose tambourine and shakers are the album’s secret sauce. [Jun 2022, p.25]
    • Uncut
      • Posted May 6, 2022
    • 82 Metascore
    • 80 Critic Score
    A Small Turn Of Human Kindness
    This quartet have honed thier lumbering heaviness into something both glorious and at times funny. [Aug 2010, p.82]
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    • 80 Metascore
    • 80 Critic Score
    Steve Reich: Reich/Richter
    The effect is kaleidoscopic, as the music constantly moves and morphs to reveal new shapes, colours and meanings. [Jul 2022, p.31]
    • Uncut
      • Posted Jul 6, 2022
    • 73 Metascore
    • 80 Critic Score
    Dear Life
    Several nuggets of power-pop excellence here that rank with the best on 2002's Lapalco. [May 2020, p.23]
    • Uncut
      • Posted Apr 23, 2020
    • 80 Metascore
    • 80 Critic Score
    All of Us Flames
    A revitalised rock’n’roll soundtrack for a push towards the brightening of the light. [Sep 2022, p.33]
    • 73 Metascore
    • 80 Critic Score
    proVISIONS
    Now, at 52, Gelb’s music seems to have found a renewed vigour, a sharper focus. ProVISIONS not only has some lean 'n' lovely boy-girl ballads, wild mood swings and a frequent groove, but also a sense of intent.
    • 87 Metascore
    • 80 Critic Score
    Upland Stories
    The writing, revealing literary influences and the deep, weird old America depicted by, say, Merle Kilgore, is astute, while stripped-down, archaic Appalachian arrangements play tricks with time. [May 2016, p.73]
    • Uncut
      • Posted Mar 30, 2016
    • 69 Metascore
    • 80 Critic Score
    I Started Out With Nothin And I Still Got Most Of It Left
    It all proves that Seasick Steve is at his strongest when he’s playing solo.
    • 76 Metascore
    • 80 Critic Score
    Wilco (The Album)
    Wilco (the album) picks up more or less where 2007’s mellow and soulful "Sky Blue Sky" left off, but subtly expands that record’s parameters.
    • 79 Metascore
    • 80 Critic Score
    Nextdoorland
    Definitely a return to psyche splendour. [Oct 2002, p.122]
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    • 76 Metascore
    • 80 Critic Score
    Guitar
    His playing is smart but no flash, though he does show off his six-string chops with some acid blues bending on "rock And Roll". [Oct 2025, p.24]
    • Uncut
      • Posted Aug 18, 2025
    • 81 Metascore
    • 80 Critic Score
    Sunset Kids
    A collaborative project that's all over the map--delightfully so. [Sep 2019, p.29]
    • Uncut
      • Posted Aug 30, 2019
    • 77 Metascore
    • 80 Critic Score
    10 Songs
    Healy's songs have always been suffused with nostalgia; now, far removed from those innocent days, the poignant pull is overwhelming. [Nov 2020, p.37]
    • Uncut
      • Posted Oct 7, 2020
    • 79 Metascore
    • 80 Critic Score
    Walking With Thee
    A cleaner operation than their previous LP, but no less unorthodox. [Apr 2002, p.95]
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    • 88 Metascore
    • 80 Critic Score
    Luireach
    he power of Landless lies in their own exquisitely intertwined four-part vocal harmonies, which add spine-tingling beauty to even the most fatalistic lyric, from an achingly gorgeous rework of traditional Celtic heartbreak lament “Blackwaterside” to the adventurously chosen Slovak-language ballad “Ej Husari”, a radiantly lovely murmuration of swooping, cooing, chirruping voices. [Jul 2024, p.35]
    • Uncut
      • Posted Jul 5, 2024
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