Uncut's Scores

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For 11,992 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: 9,012 out of 11992
  2. Mixed: 2,906 out of 11992
  3. Negative: 74 out of 11992
11992 music reviews
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    • 79 Metascore
    • 60 Critic Score
    Lenses Alien
    Lenses Alien harnesses the singular vision of singer and guitarist Joseph D'Agostino to finely nuanced, feedback-soused art-rock. [Nov 2011, p.83]
    • Uncut
      • Posted Oct 18, 2011
    • 46 Metascore
    • 60 Critic Score
    Cattle Callin
    It almost works. [Nov 2011, p.84]
    • Uncut
      • Posted Oct 18, 2011
    • 82 Metascore
    • 80 Critic Score
    Ghost to a Ghost/Gutter Town
    The country double Ghost to a Ghost/Gutter Town, is the best and it's not un-experimental. [Nov 2011, p.84]
    • Uncut
      • Posted Oct 18, 2011
    • 83 Metascore
    • 80 Critic Score
    Looping State of Mind
    Magnificent. [Nov 2011, p.84]
    • Uncut
      • Posted Oct 18, 2011
    • 80 Metascore
    • 60 Critic Score
    On the Water
    The Trio's third album is similarly, unconventionally earnest, often doing for the New Romantics when Gayngs did for 10cc. [Nov 2011, p.84]
    • Uncut
      • Posted Oct 18, 2011
    • 78 Metascore
    • 80 Critic Score
    Passenger
    [It] sees her expanding her horizons with out scrimping on nuance or emotion. [Nov 2011, p.84]
    • Uncut
      • Posted Oct 18, 2011
    • 74 Metascore
    • 80 Critic Score
    Working in Tennessee
    Working In Tennessee resonates with much of the cool, complicated clarity of his very best work. [Nov 2011, p.85]
    • Uncut
      • Posted Oct 18, 2011
    • 81 Metascore
    • 80 Critic Score
    Reverie
    As you'd expect, his 12th album sounds wonderful. [Nov 2011, p.86]
    • Uncut
      • Posted Oct 18, 2011
    • 63 Metascore
    • 40 Critic Score
    Beauty Queen Sister
    The harmonies remain pretty, but the smoothness of those Nashville sidemen exposes the thinness of the songs. [Nov 2011, p.86]
    • Uncut
      • Posted Oct 18, 2011
    • 75 Metascore
    • 60 Critic Score
    I Wake Up Screaming
    His first album in 14 years sounds more like a Ronnie Barker pastiche, constantly playing for laughs and often reworking the calypso rhythms of "Annie I'm Not Your Daddy." [Nov 2011, p.89]
    • Uncut
      • Posted Oct 18, 2011
    • 83 Metascore
    • 80 Critic Score
    Wild Flag
    The music is tight and telepathic. [Nov 2011, p.90]
    • Uncut
      • Posted Oct 18, 2011
    • 81 Metascore
    • 80 Critic Score
    Mikal Cronin
    Small, but near-perfectly formed. [Nov 2011, p.90]
    • Uncut
      • Posted Oct 18, 2011
    • 70 Metascore
    • 60 Critic Score
    Little Me Will Start a Storm
    The results are pleasant enough but ultimately feel rather disjointed, as though this band has yet to settle into its own skin. [Nov 2011, p.91]
    • Uncut
      • Posted Oct 18, 2011
    • 70 Metascore
    • 80 Critic Score
    Sondre Lerche
    His songwriting style is pitched somewhere between Elvis Costello, Burt Bacharach and early Roddy Frame, displaying a knack for heart-tugging chord changes and delicately deployed Brazilian rhythms. [Nov 2011, p.91]
    • Uncut
      • Posted Oct 18, 2011
    • 69 Metascore
    • 60 Critic Score
    Hall Music
    The result is a seductively melancholy and unashamedly serious album that claws insistently at the heartstrings. [Nov 2011, p.91]
    • Uncut
      • Posted Oct 18, 2011
    • 83 Metascore
    • 60 Critic Score
    The Hunter
    The Hunter feels purposely immediate. [Nov 2011, p.93]
    • Uncut
      • Posted Oct 18, 2011
    • 65 Metascore
    • 60 Critic Score
    Get Lost
    Get Lost marks him out as descendant of Manuel Gottsching and Vini Reilly, stringing pretty guitar motifs and quiet, whispered vocals into ringing loops. [Nov 2011, p.93]
    • Uncut
      • Posted Oct 18, 2011
    • 67 Metascore
    • 60 Critic Score
    Monkeytown
    Yorke aside, the attractions are few in Monkeytown. [Nov 2011, p.93]
    • Uncut
      • Posted Oct 18, 2011
    • 76 Metascore
    • 60 Critic Score
    Era Extrana
    A three-part instrumental piece, named "Heart: Attach," brings a pleasant filmic quality to an album that elsewhere trades a little too heavily on nostalgia. [Nov 2011, p.94]
    • Uncut
      • Posted Oct 18, 2011
    • 78 Metascore
    • 80 Critic Score
    Pearl Jam 20 [Original Motion Picture Soundtrack]
    It makes for a rambunctious rock'n'roll record. [Nov 2011, p.94]
    • Uncut
      • Posted Oct 18, 2011
    • 81 Metascore
    • 100 Critic Score
    Metals
    It's this insistence on resolutely following her instincts that makes this record so lustily appealing from top to bottom. [Nov 2011, p.95]
    • Uncut
      • Posted Oct 18, 2011
    • 77 Metascore
    • 60 Critic Score
    Songs and Stories [Live]
    It's essentially Clark in all his acoustic finery. [Nov 2011, p.96]
    • Uncut
      • Posted Oct 18, 2011
    • 76 Metascore
    • 80 Critic Score
    Ashes & Fire
    Ashes & Fire is an understated gem. [Nov 2011, p.96]
    • Uncut
      • Posted Oct 18, 2011
    • 69 Metascore
    • 80 Critic Score
    Trust Now
    Self awareness and self-loss are finally balanced, especially on Portaling. [Nov 2011, p.97]
    • Uncut
      • Posted Oct 18, 2011
    • 52 Metascore
    • 40 Critic Score
    SuperHeavy
    "SuperRandom" might be a better name. [Nov 2011, p.98]
    • Uncut
      • Posted Oct 18, 2011
    • 67 Metascore
    • 40 Critic Score
    For True
    High profile fans like Jeff Beck, Kid Rock and Warren Haynes help trombone shorty create what he calling "supafunk rock," a decidedly unsexy, sub-Chili Peppers amalgam with pointless horn riffs. [Nov 2011, p.98]
    • Uncut
      • Posted Oct 18, 2011
    • 79 Metascore
    • 80 Critic Score
    The Lost Notebooks of Hank Williams
    What's most intriguing is the way each artist gets in character. [Nov 2011, p.104]
    • Uncut
      • Posted Oct 18, 2011
    • 74 Metascore
    • 60 Critic Score
    What's It All About
    It all sounds intensely personal and pleasingly remote. [Nov 2011, p.104]
    • Uncut
      • Posted Oct 18, 2011
    • 67 Metascore
    • 60 Critic Score
    TKOL RMX 1234567
    These 19 tracks feel designed to float in a space between clear genre boundaries, somewhere purposefully undefined. [Nov 2011, p.106]
    • Uncut
      • Posted Oct 18, 2011
    • 73 Metascore
    • 80 Critic Score
    In the Pit of the Stomach
    It's fiercer and denser than their 2009 debut. [Nov 2011, p.107]
    • Uncut
      • Posted Oct 18, 2011
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