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 | |
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| 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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- Uncut
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- Critic Score
This is a larger-sounding, less homespun set than thte sisters' previous two albums. [May 2007, p.102]- Uncut
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- Critic Score
Outside of fashion, and as exciting as The Bunnymen's second, Heaven Up Here. [Oct 2006, p.133]- Uncut
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- Critic Score
[The first half is] all dismayingly unconvincing and lacklustre in execution... Then something changes.- Uncut
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- Critic Score
Cements FOW's status as the savviest modern-day practitioners of both Beatlesque pop and Steely Dan's cool precision. [Jun 2007, p.94]- Uncut
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It's all certainly a lot more complex, if a little less immediate, than anything they've done before. [May 2007, p.104]- Uncut
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Amid all the dirty, clanging glam, there are unfinished moments. [Apr 2007, p.119]- Uncut
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The Endless Not sees the whirring tape-loopsof old replaced by iMacs, but not at the expense of sheer abrasiveness. [May 2007, p.113]- Uncut
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Steingarten combines clipped, Kompakt-style 4/4 funk with a massy dub sensibility reminiscent of Adrian Sherwood's Tackhead productions. [Apr 2007, p.114]- Uncut
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It's bombastic, but you can't fault its ambitions. [Jun 2007, p.115]- Uncut
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Smith sounds revitalised (and often very amused), delivering his most emphatic vocals in years. [Mar 2007, p.76]- Uncut
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Their second album manages to be full of surprises, while never straying too far from what you'd expect. [Mar 2007, p.80]- Uncut
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Gimmicky moments are plentiful, but it's the box-fresh pop songs like "Misery" and "The River" that benefit most from their renewed sense of purpose. [Apr 2007, p.100]- Uncut
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Hampered by Gray's dial-a-diva rasp, Big is nowhere near as good as it should be. [May 2007, p.92]- Uncut
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[It] strikes a finer balance between ['Year Of Meteors'] and the magic folk realism of her earlier work. [Apr 2007, p.116]- Uncut
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Gone is the Suede-lite of The Tears. Instead we get acoustic guitars, lush string arrangements and the previously cagey Anderson pouring his heart out. [Apr 2007, p.92]- Uncut
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Rarely has anyone making such exciting and fashionable music been so unapologetic about being mature, too. [Apr 2007, p.97]- Uncut
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[The album] adds a newfound sang-froid to their quiet/loud approach. [May 2007, p.100]- Uncut
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They may have defined a genre, but Low can clearly still move forward. [May 2007, p.99]- Uncut
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Living With The Living finds them at their most assured. [Apr 2007, p.113]- Uncut
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Despite a top-drawer guest list, this often feels like empty bombast. [Mar 2007, p.98]- Uncut
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For those willing to take a chance, it's an impeccably realised, verbose treat. [Apr 2007, p.99]- Uncut
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Most of the album sees producers Charles Webster and Ewan Pearson buiilding on the bedsit rave of "Missing" and the beatific drum'n'bass of Walking Wounded. [Apr 2007, p.120]- Uncut