Uncut's Scores
- Music
For 11,991 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 | |
|---|---|---|
| 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
Listening to the array of styles, from the Jim O'Rourke-like folk of "Psyche", laced with Martina Topley-Bird's cosmic incantation, to "Splitting The Atom"'s opiated rocksteady or Hope Sandoval's dusky ballad, "Paradise Circus", it's conceivable Del Naja and Marshall needed every minute of those years to concoct such alluring material.- Uncut
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Sade Adu and co return with more snoozy, expensively produced, quiet-storm soul. [Mar 2010, p.95]- Uncut
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Having grabbed attention for their collaboration with Jenny Lewis on "Rabbit Fur Coat," then their own "Fire Songs," this takes a bold shift in direction. [Mar 2010, p.104]- Uncut
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Budget keyboard presets and filtered, treble-heavy production give the likes of "Lissoms" and :low Shoulder" an endearingly woozy, lo-fi feel. [Mar 2010, p.98]- Uncut
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Too much of it is lost in homogeneous country balladry more often associated with Trish Yearwood and all the other Nashville guff. A pity, because Moorer's voice is an expressive thing. [Mar 2010, p.94]- Uncut
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The use of reverberant instruments such as marima, bells and steel drums--as well as, on "Stick To My Side," the ethreal vocals of Noah 'Panda Beear" Lennox--give a real depth to his ambitious productions, and yet despite the elemental yearning, they retain a clubby toughness. Breth-taking stuff. [Mar 2010, p.90]- Uncut
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Galactic's Ya-Ka-May is a pungent musical fusion, adding hip-hop to mardi-gras funk, with help from a cast of local luminaries. [Apr 2010, p.86]- Uncut
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There's a dash of Yeah Yeah Yeahs about the opening scenes of this Brirtsh Columbia band's vivacious third album, which should have them gracing bigger indie dance-floors. [Jun 2010, p.109]- Uncut
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If Regan's Mercury Prize-nominated debut in 2006 attracted comparisons with Nick Drake, this belated follow-up ditches the finger-picking folksiness for full-on rock, and sees Regan mutate into a latterday Mike Soctt. {Feb 2010, p.96]- Uncut
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Drawing on every rhythmic tradition they can find and master, they corral impressive guests like Edan, Mr. Lif and Quantic to confound all expectations of contemporary funk LP. [Mar 2010, p.107]- Uncut
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Like ...Van Occupanther, The Courage Of Others is texturally rich and technically refined, elegantly capturing the ambience of the folk rock scene to which it pays fulsome tribute. But sadly, there's something cold and unwelcoming at its core.- Uncut
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At least it is in its worst moments the songs beome subservient to clunky genre experiment. [Apr 2010, p.92]- Uncut
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Snotty wit can be heard on the droll "Down On Loving" or the splenetic "Parasites," probably the best examples of the Ramones-via-Replacements sound that defines the album. [Apr 2010, p.90]- Uncut
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The band's plush indietronica is still in place, but there's greater warmth and imagination, and real consistency. [Mar 2010, p.79]- Uncut
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Only the sub-Marilyn Manson riff-slammer "Mars Needs Women" stand out in an otherwise generic batch of spoofy "Rocky Horror" lyrics and painful superfluous drum solos. [Mar 2010, p.107]- Uncut
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In a way, this album serves as a fitting sonic museum to Serge, one that plunders from his past while maintaining his relentlessly forward-looking, hybridised pop vision. [Feb 2010, p.87]- Uncut
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For their second album proper, the band have beefed up their sound at the expense of their spindly charm. [Mar 2010, p.89]- Uncut
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Teen Dream finds the duo resolving to present their songs in somewhat firmer strokes. Nothing rocks, exactly, but organs coo in sharper focus, drum machines bear with added vigour, and an eerie disquiet occasionally linger. [Feb 2009, p.79]- Uncut
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Ten years ago this hand-stitched tapestry of astral-jazz harp, dusty acoustics, crackling breakbeats, music-box twinkles and twitchy "Intelligent Dance Music" might have seemed bravely genre-bending, but now it's as cosy a pair of favourite slippers. [Feb 2010, p.84]- Uncut
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Here are miasmic, dizzyingly gorgeous songs built on the grandest and most romantic, but steadied by the hand of hook-loving classicists. Bravo! [Mar 2010, p.90]- Uncut
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Realism is conceptually closer to "69 Love Songs" than anything he's done since, opting for a "variety folk" sound somewhere between Kurt Weill and Sufjan Stevens, but its ratio of heart-felt-to-hokey is out of whack. [Feb 2010, p.93]- Uncut
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It's a delicate, individual record, from the same neighbourhood as Paul Weller's recent excursions in rustic soul, but instead of Weller's creosotey vocals, the emotion is carried in a Minnie Riperton trill.- Uncut
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This wildly varied collection begins with their first release in 2002, "No Pasaran" about the Spanish Civil War, and include treats such as "Dream Come True," a self-released 7" given away at gigs, which sounds like Henry Rollins singing the "Grease "soundtrack while vomiting marbles. Yes, it's that good. [Feb 2010, p.84]- Uncut
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Long stretches of listless strumming may test your patience, but the reward is the gorgeous psychedelic folk reverie of 11-minute closer "Do Soto De Son," as hypnotically lovely as anything that they've laid down since. [Feb 2010, p.79]- Uncut
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The wildcard element comes in the shape of thier guitarist, who makes much of this album sound as if Brian May had been airlifted into a Devendra Banhart recording session. Disconcerting, but really rather good. [Feb 2010, p.81]- Uncut
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Pop's lightness doesn't much suit Bulat; she's at her best on the banjo-driven title track and gospel toned closer "If It Rains." [Feb 2010, p.79]- Uncut
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Steve Albini is admirably restrained here, preserving the raw power of Niblett's guitar, allowing it to throb and hum beneath--and sometimes above--her bell-like voice. [Apr 2010, p.95]- Uncut
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Five American Portraits, another collaboration with conceptual art group Art & Language, combines the two [awkward rock music and high conceptualism]: these simple, rough portraits of George W Bush, Wile E Coyote, etc, while each song musically quotes relevant tunes. [Mar 2010, p.93]- Uncut
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Enchanting arrangements, glistening instrumentation, and Griffin's hypnotic vocals carry the day. [Mar 2010, p.86]- Uncut