Uncut's Scores

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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: 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: 9,011 out of 11991
  2. Mixed: 2,906 out of 11991
  3. Negative: 74 out of 11991
11991 music reviews
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    • 78 Metascore
    • 80 Critic Score
    A Healthy Distrust
    Cements his reputation for fast, witty, lyrically dense politico-personal rhymes. [Mar 2005, p.99]
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    • 71 Metascore
    • 60 Critic Score
    Manzanita
    A peculiar take on neo-baroque folk with an utterly contemporary twist. [Apr 2005, p.100]
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    • 85 Metascore
    • 80 Critic Score
    The Mysterious Production Of Eggs
    Folk songs given a rarefied air by his elegant wordplay and multi-tracked chamber strings. [Mar 2005, p.108]
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    • 76 Metascore
    • 70 Critic Score
    Out Of Breach (Manchester's Revenge)
    A fashionably unruly racket. [Mar 2005, p.100]
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    • 88 Metascore
    • 80 Critic Score
    I Am A Bird Now
    His voice must be heard to be believed. [Apr 2005, p.105]
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    • 52 Metascore
    • 70 Critic Score
    The Others
    This promising debut proves they're proficient at penning ragged Buzzcocks-ish pop... but also exposes the limitations of [Masters]. [Feb 2005, p.79]
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    • 52 Metascore
    • 40 Critic Score
    Pushing The Senses
    Pushing The Senses is by no means soppy, but Feeder's young fanbase might need some convincing. [Feb 2005, p.76]
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    • 77 Metascore
    • 80 Critic Score
    Happiness In Magazines
    His most accessible work since Parklife. [Sep 2004, p.101]
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    • 76 Metascore
    • 80 Critic Score
    Before The Poison
    Probably the most potent album she's made since Broken English. [Nov 2004, p.102]
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    • 67 Metascore
    • 60 Critic Score
    World's Apart
    No less viscerally thrilling [than its predecessor] but pursues a number of ear-bogglingly unlikely paths. [Feb 2005, p.73]
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    • 63 Metascore
    • 80 Critic Score
    Emoh
    He delivers 14 sweetly sombre neo-folk tunes that reveal just how subtly pervasive the man's influence really is. [Mar 2005, p.108]
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    • 66 Metascore
    • 80 Critic Score
    Digital Ash In A Digital Urn
    The songs are neither dogmatic nor whacked out. Like fine pop writers before him, Oberst's simply wrestling with something troubling he feels thick in the air. [Feb 2005, p.72]
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    • 85 Metascore
    • 90 Critic Score
    I'm Wide Awake, It's Morning
    Where Ryan Adams replicates old records, this is something new. [Album of the Month, Feb 2005, p.72]
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    • 71 Metascore
    • 80 Critic Score
    Push The Button
    Cleaner and crisper... their first [album] for half a decade where great noises... outshine august guest vocalists. [Feb 2005, p.73]
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    • 73 Metascore
    • 70 Critic Score
    Knuckle Down
    DiFranco remains an utterly singular performer. [Mar 2005, p.91]
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    • 53 Metascore
    • 40 Critic Score
    Nightbird
    Seems dated. [Feb 2005, p.73]
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    • 82 Metascore
    • 70 Critic Score
    The Great Destroyer
    Generally, the album has a frantic, acidic, raggedly glorious feel. [Feb 2005, p.85]
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    • 76 Metascore
    • 90 Critic Score
    Before The Dawn Heals Us
    Grandiose, overwhelming, pretentious and absurd, Before The Dawn Heals Us is one of the first great albums of 2005. [Feb 2005, p.79]
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    • 81 Metascore
    • 70 Critic Score
    Wilderness
    His gentle voice sits amid occasionally baroque arrangements, the simplicity of which ensure his more complex songwriting skills remain accessible. [Feb 2005, p.76]
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    • 72 Metascore
    • 70 Critic Score
    '64 - '95
    The tone is less whimsical, occasionally ecstatic, and at times reminiscent of big beat. [Mar 2005, p.91]
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    • 80 Metascore
    • 80 Critic Score
    Superwolf
    In this lunar setting, Oldham's visionary, spooked words are lit up with renewed clarity. [Feb 2005, p.78]
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    • 71 Metascore
    • 40 Critic Score
    Different Days
    The mournful tone is seductive, but at times the femme melodrama teeters into All About Eve territory. [Feb 2005, p.83]
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    • 69 Metascore
    • 70 Critic Score
    Chaos Theory: Splinter Cell 3 [Soundtrack]
    Tobin delivers fiercely programmed, seriously dark material. [Mar 2005, p.104]
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    • 69 Metascore
    • 60 Critic Score
    All Rise
    Simple acoustic music lined with occasional piano and an inglenook voice owing much to early Joni Mitchell or Carole King. [Aug 2006, p.93]
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    • 73 Metascore
    • 60 Critic Score
    A Question Of Temperature
    Inessential, but huge fun nevertheless. [Mar 2005, p.91]
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    • 63 Metascore
    • 70 Critic Score
    Do The Bambi
    Addictive pop kitsch. [Apr 2005, p.99]
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    • 67 Metascore
    • 70 Critic Score
    All Harm Ends Here
    Languid without being lazy. [Mar 2005, p.93]
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    • 79 Metascore
    • 70 Critic Score
    Trials & Errors
    So charged it crackles. [Feb 2005, p.82]
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    • 72 Metascore
    • 70 Critic Score
    The Documentary
    A mostly rich and involving experience. [Apr 2005, p.98]
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    • 61 Metascore
    • 40 Critic Score
    The Seven Autumn Flowers
    Too often there's a pileup of overwrought, over-long ballads that struggle to make headway. [Jan 2005, p.121]
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