Urb's Scores

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For 1,126 reviews, this publication has graded:
  • 63% higher than the average critic
  • 2% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 0.2 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 The Golden Age of Apocalypse
Lowest review score: 10 This Is Forever
Score distribution:
  1. Positive: 856 out of 1126
  2. Mixed: 256 out of 1126
  3. Negative: 14 out of 1126
1126 music reviews
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    • 66 Metascore
    • 50 Critic Score
    American Supreme
    If American Supreme showed up today as the product of youngsters, Suicide would be called electro-clash. [Dec 2002, p.92]
    • Urb
    • 65 Metascore
    • 50 Critic Score
    Dark Matter: Moving At The Speed Of Light
    His electro sound [cannot] stand out through the chaff of a million imitators over two decades. [Dec 2004, p.118]
    • Urb
    • 71 Metascore
    • 50 Critic Score
    Goodbye Country (Hello Nightclub)
    When there are moments, they strike and wittingly pull bodies off seats. [Oct 2001, p.128]
    • Urb
    • 61 Metascore
    • 50 Critic Score
    Brass Knuckles
    This is what Nelly's Brass Knuckles is best summarized as...a club jam.
    • 71 Metascore
    • 50 Critic Score
    Arm's Way
    Thorburn’s second record writing songs with the group Islands shows admirable ambition and eclectic musicianship. What hinders this release, however, is a matter of composition.
    • 64 Metascore
    • 50 Critic Score
    Halfway Between the Gutter and the Stars
    Notwithstanding a few guaranteed pop hits, the new album will probably leave most dance diehards cold... the album's dance cuts stick to the typical sampling-and-looping aesthetic that's been a bit tired for a while. [#79, p.123]
    • Urb
    • 68 Metascore
    • 50 Critic Score
    The Understanding
    The tactic [of increased vocals] hits and misses, as the album's standout tracks owe their success to the crew's innovative and polished production, not their lyrical prowess. [Jul/Aug 2005, p.104]
    • Urb
    • 72 Metascore
    • 50 Critic Score
    Ether Teeth
    Incessantly innovative, it's charming as hell for about the duration of a sidelong glance. [Aug 2003, p.89]
    • Urb
    • 71 Metascore
    • 50 Critic Score
    Creature Comforts
    Most of Creature Comforts is hypnotic, if hardly soothing, noisemaking. [Jul/Aug 2004, p.124]
    • Urb
    • 66 Metascore
    • 50 Critic Score
    Anjulie
    The rest of her songs on Anjulie are really hit and miss. Some are catchy enough to enjoy, others are boring enough to forget about.
    • 73 Metascore
    • 50 Critic Score
    Nightlife
    It's hard to care, to jump, jive and join the cause, when singer-guitarist Jenny Hoysten barely musters anything above flat, monotonous speak-singing. [Jul/Aug 2006, p.118]
    • Urb
    • 65 Metascore
    • 50 Critic Score
    An End Has A Start
    It appears they have emulated themselves on their sophomore (and sophomoric sounding) effort.
    • 75 Metascore
    • 50 Critic Score
    Garden Ruin
    Painfully unexciting. [Mar 2006, p.122]
    • Urb
    • 73 Metascore
    • 50 Critic Score
    Blood, Looms, And Blooms
    Musically, this record definitely shoots what it was aiming for, but I wouldn't listen to it unless you are, or want to be, severely depressed or disturbed.
    • 69 Metascore
    • 50 Critic Score
    Everything Last Winter
    Everything Last Winter loses itself slightly in the oversaturated field of worthy emulators, the record could find its place soundtracking the ABC drama you call a life.
    • 68 Metascore
    • 50 Critic Score
    MAYA
    M.I.A.'s schizophrenic style does not please this time around. The industrial and mechanical soundscape lacks both genuine protest songs or club jams.
    • 71 Metascore
    • 50 Critic Score
    New York City
    Brazilian Girl has the ability to give audiences a world band sound because of its mixture of different languages and live band sound. It also has a certain level of pop appeal.
    • 69 Metascore
    • 50 Critic Score
    Excerpts From The Diary Of Todd Zilla [EP]
    A boring reminder of past work. [Dec 2005, p.104]
    • Urb
    • 62 Metascore
    • 50 Critic Score
    Sexor
    Overall, Sexor has four great tracks and 10 cuts that run the gamut from passable to forgettable. [Sep 2006, p.140]
    • Urb
    • 70 Metascore
    • 50 Critic Score
    Saturdays=Youth
    M83's new effort saunters like a slow dance from "Sixteen Candles." [Mar/Apr 2008, p.109]
    • 67 Metascore
    • 50 Critic Score
    Between Darkness & Wonder
    The fractious tension producer [Barlow] normally whips up to counter [Rhodes] is almost completely absent, thus allowing the run of tracks to discreetly slide off into the background. [Mar 2004, p.110]
    • Urb
    • 69 Metascore
    • 50 Critic Score
    Man on the Moon, Vol. 2: The Legend of Mr. Rager
    Filtered drum patterns, neo-gospel arrangements and plaintive piano jams, along with curious and catchy enough melodies, obscure Cudi's guttural talk-raps for a bit.
    • 57 Metascore
    • 50 Critic Score
    Again & Again
    Again and Again is an atmospheric album, but it suffers under often nonsense lyrics, uninspired vocals and borrowed production. It doesn't leave a lasting impression.
    • 53 Metascore
    • 40 Critic Score
    Super Animal Brothers III
    Super Animal Brothers III sounds exactly as expected; a dorm room drum machine experiment attempting to capture the zeitgeist of Generation Ritalin, permanently jacked to eleven with no real idea as to why.
    • 69 Metascore
    • 40 Critic Score
    Bitter Tea
    Even listeners who retreat to the "experimental" defense will only mixtape the five decent tracks and torch the rest. [May 2006, p.84]
    • Urb
    • 69 Metascore
    • 40 Critic Score
    Chaos Theory: Splinter Cell 3 [Soundtrack]
    It's clever and interesting, but it's hard to escape the feeling that an opportunity to expand and mutate his sound even more went partially wasted. [Apr 2005, p.104]
    • Urb
    • 65 Metascore
    • 40 Critic Score
    Kevin Michael
    It’s not just his vaguely interesting falsetto or all the emoting on his debut; it’s that all those emotions are under the guise of some real heaviosity but really aren’t saying shit.
    • 64 Metascore
    • 40 Critic Score
    Mixed Race
    It might be difficult to differentiate after nine full-lengths, but Mixed Race may be the least engaging album we've heard from Tricky to date.
    • 47 Metascore
    • 40 Critic Score
    Other People's Songs
    The results have a better chance of ending up in mom's Volvo than your iPod. [Jan 2003, p.76]
    • Urb
    • 75 Metascore
    • 40 Critic Score
    After Robots
    It's a promising thought to know there are musicians this deft and so easily able to push themselves through so many sonic boundaries at once--but in the end, the overt and ultimately, stifling seriousness surrounding it proves to be the largest boundary BLK JKS stand before.
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