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
Moments of startling beauty emerge from the fuzz-drenched experiments. [Sep 2005, p.112]- Uncut
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- Critic Score
Banhart's free-flowing oddness makes most musical eccentrics seem self-conscious and predictable. [Jun 2004, p.90]- Uncut
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OnOffOn has an incredibly dense, thick sound, and it sags a little in the middle, but Miller can still write terrifically belligerent pop songs. [Jun 2004, p.96]- Uncut
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The best record he's made since 1996's Casanova, it's one of those rare instances when an artist retraces their steps and successfully locates what made them interesting in the first place. [May 2004, p.102]- Uncut
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A slightly disappointing attempt to hammer their quirks into a more commercial rock shape. [May 2004, p.99]- Uncut
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When Trampin' doesn't work, though, it plods, though never as badly as the worst bits of Gung Ho. [May 2004, p.94]- Uncut
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Another relaxed but enigmatic foray into modernist roots territory to stand alongside records by Gillian Welch, Laura Veirs, Sparklehorse and Bonnie "Prince" Billy. [Jun 2004, p.98]- Uncut
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It's Krall's voice that has always been her biggest problem... consequently, these songs feel like elegant but bloodless conceits. [Jun 2004, p.85]- Uncut
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White's willfully basic approach is what gives Van Lear Rose its freshness.... If you thought Rick Rubin's Johnny Cash reinvention was impressive, wait 'til you grab a fistful of this. [Album of the Month, June 2004, p.84]- Uncut
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Might be a primer for his various selves, so redolent are individual tracks of previous songs. [Jun 2004, p.92]- Uncut
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A triumph of sample-based, groove-cutting rap that shifts ground with every attempt to pin it down. [May 2004, p.106]- Uncut
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Despite its DIY origins and almost hallucinatory feel, this is a peach of a pop record. [Apr 2004, p.108]- Uncut
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The whole thing tingles: you're in the presence of diamond-hard greatness. [Nov 2004, p.110]- Uncut
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There are some pleasantly elaborate, wayward songs here... Forays into funk and Tom Waits' scrapyard are cringe-inducing, though. [Sep 2004, p.110]- Uncut
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If the piano melodies lapse into sameness, Russo sprinkles John Barry and Carpenters motifs on top to keep it trembling. [Feb 2005, p.74]- Uncut
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He doesn't have that doomed, hellhound-on-my-trail intensity that makes Johnson's recordings so spooky. But, at 58, he sounds like a man who has faced down more than a few canine devils of his own. [Apr 2004, p.102]- Uncut
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Gorgeously warm, forlorn and wounded. [Mar 2004, p.95]- Uncut
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It works, mainly: though one or two songs could benefit from the old viciousness, these are seductive confections. [Apr 2004, p.104]- Uncut
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Fly Or Die has more in common with 10cc and XTC than it does Common.... Prog-pop album of the year. [Jun 2004, p.91]- Uncut
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Often shambolic and in-jokey, it's also sensationally good fun. [May 2004, p.93]- Uncut
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Beam is a master of circumnavigating cliche. [May 2004, p.106]- Uncut