Uncut's Scores
- Music
For 11,991 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: 9,011 out of 11991
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Mixed: 2,906 out of 11991
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Negative: 74 out of 11991
11991
music
reviews
- By Date
- By Critic Score
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- Critic Score
Five years on, New Orleans' Turk Dietrich and Michael Jones return with nine rather more conventionally structured songs than the nebulous, shapeshifting drones of their debut, Orange Language. [May 2011, p.79]- Uncut
Posted Apr 12, 2011 -
- Critic Score
Despite the epic pretensions of the 16-miniute finale, "Tao Of The Dead Part Two,", sadly, this sort of tribute to rock's historical hinterlands yields fewer surprises each time. [May 2011, p.77]- Uncut
Posted Apr 12, 2011 -
- Critic Score
As ever, Simon's work is a strange mix of easy and uneasy listening--it's balm, but it leaves an itch. [May 2011, p.74]- Uncut
Posted Apr 12, 2011 -
- Critic Score
It fuses disparate cultures with such joyous irreverence that, for 40 inspirational minutes, entire notions of national borders and racial divides cease to exist. [Apr 2011, p.77]- Uncut
Posted Apr 7, 2011 -
- Critic Score
Their true talent lies in creating songs replete with dreamy, late summer melancholy, shrouded in dusky reverb and topped off with Justin Young's oddly emotive quaver.[Apr 2011, p.84]- Uncut
Posted Apr 7, 2011 -
- Critic Score
Baltimore multi-instrumental duo Jenn Wasner and Andy Stack have raised their game with this third LP. [Apr 2011, p.103]- Uncut
Posted Apr 7, 2011 -
- Critic Score
The tunes can be slight, and sometimes their spirit of appropriation leaves them rather red-handed. [Apr 2011, p.91]- Uncut
Posted Apr 7, 2011 -
- Critic Score
These are good songs, but they're so boldly signposted, you can see them miles away. [May 2011, p.85]- Uncut
Posted Apr 7, 2011 -
- Critic Score
Despite their monotone and their monoxide fuming, it's hard not to warm to Monotonix, especially when they catch fire. [Apr 2011, p.86]- Uncut
Posted Mar 29, 2011 -
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Posted Mar 29, 2011 -
- Critic Score
Her quirky homespun arrangements have been toughened and broadened, adding a knowingly retro girl-group stomp and echo-drenched Spector-ish grandeur to windswept heartbreak anthems. [Apr 2011, p.85]- Uncut
Posted Mar 29, 2011 -
- Critic Score
Keren-Ann Zeidal has been covered by Jane Birkin and Francoise Hardy, but here progresses from chansons to create a spectacularly produced pop-art. [Apr 2011, p.85]- Uncut
Posted Mar 29, 2011 -
- Critic Score
Too late for success, maybe, but identity crisis (narrowly) avoided. [Apr 2011, p.84]- Uncut
Posted Mar 29, 2011 -
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Posted Mar 29, 2011 -
- Critic Score
His primary source is a pipe organ in an Icelandic church, which he processes, filters, deconsecrates, muddles and distorts, and therefore liberates in the course of this album, enabling its latent potential to escape from its wooden room and form a burgeoning cloudscape. [Apr 2011, p.83]- Uncut
Posted Mar 29, 2011 -
- Critic Score
Their debut is an urgent affair full of scratchy, slyly melodic and occasionally anthemic post-punk rock. [Apr 2011, p.83]- Uncut
Posted Mar 29, 2011 -
- Critic Score
Once the shock subsides, it's quite charming. [Apr 2011, p.89]- Uncut
Posted Mar 29, 2011 -
- Critic Score
The real heart of this record seems to lie in moments of stillness and rest, where strung-out slackerdom attains an almost sacred quality. [Apr 2011, p.88]- Uncut
Posted Mar 29, 2011 -
- Critic Score
The musicianship is slick enough, but if you thought their salt-of-the-earth fiddly folkie pose was a bit iffy, this is a whole new level of phoney. [Apr 2011, p.89]- Uncut
Posted Mar 29, 2011 -
- Critic Score
Their no-frills shtick excites in small doses. [Apr 2011, p.89]- Uncut
Posted Mar 29, 2011 -
- Critic Score
Sure, at times, they sound like Gene, but on tracks like "Do You Really Wanna Know" they are nigh-on perfect: Jangly and breathless, with traces of The Smiths but a softer edge. [Apr 2011, p.89]- Uncut
Posted Mar 29, 2011 -
- Critic Score
The result is an album that bursts with life and invention. [Apr 2011, p.89]- Uncut
Posted Mar 29, 2011 -
- Critic Score
Others paying respects are Steve Earle, Kid Rock and Lucinda Williams, though the inclusion of Lee Ann Womack and Faith Hill dilutes the overall impact. [Apr 2011, p.90]- Uncut
Posted Mar 29, 2011 -
- Critic Score
It is guitarist Drew St Ivany who controls the ebb and flow, his use of scintillating, strobe-like textures and groaning chasms of feedback recalling Skullflower, or Comets On fire at their most intense. [Apr 2011, p.91]- Uncut
Posted Mar 29, 2011 -
- Critic Score
Six Organs may be a stylistic cul de sac for Chasny but, on this evidence, who needs a way out? [Apr 2011, p.92]- Uncut
Posted Mar 29, 2011 -
- Critic Score
If TDD's Cure obsession at times gets the better of them, their buoyancy and drive will still fill floors. [Apr 2011, p.95]- Uncut
Posted Mar 29, 2011 -
- Critic Score
The View's handicap is the sheer lumpen ordinariness of their songwriting. [Apr 2011, p.100]- Uncut
Posted Mar 29, 2011 -
- Critic Score
In short, it's a quietly beautiful record: anthemic but not bombastic, introspective yet universal, simply drawn but beautifully coloured in. [Apr 2011, p.82]- Uncut
Posted Mar 29, 2011 -
- 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