AllMusic's Scores

  • Music
For 13,575 reviews, this publication has graded:
  • 66% higher than the average critic
  • 4% same as the average critic
  • 30% lower than the average critic
On average, this publication grades 1.2 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 Remedy
Lowest review score: 20 Playing With Fire
Score distribution:
13575 music reviews
    • 72 Metascore
    • 60 Critic Score
    Each of the songs are immediately reprised by dub versions, and these indulge in all of the spacy echo and delay effects one would expect, often improving on the originals. Overall, though, the music just doesn't seem quite as pushed to the outer limits as Back on the Controls. The Black Album isn't a major disappointment, but it isn't exceptional, either.
    • 79 Metascore
    • 80 Critic Score
    Cheap Thrills was the album that made Janis Joplin one of the biggest stars of her era (and rightly so), but Sex, Dope & Cheap Thrills reminds us she didn't go it alone, and it's the work of a strong and memorable band as well as a world-class singer.
    • 79 Metascore
    • 80 Critic Score
    Teleman prove that following their bliss is more important to them than more predictable markers of success, and it's hard to hear Family of Aliens as anything other than a soft-spoken declaration of independence.
    • 84 Metascore
    • 80 Critic Score
    Subtlety is the strength of The Tree: it can be heard as soothing, healing music, but its real rewards reveal themselves through close listening.
    • 78 Metascore
    • 80 Critic Score
    While it's true that Immortal doesn’t break new ground here, it was perhaps more important at this juncture to reassert their sound to fans as they move forward in the aftermath of Abbath's departure. They not only carry on here, but sound more like their unhinged, malevolent selves than ever.
    • 77 Metascore
    • 80 Critic Score
    The Public Image Is Rotten presents a thorough and uncompromised portrait of Lydon's work with PiL, and anyone interested in the many contexts he's created for his unique vision will find plenty to take in.
    • 81 Metascore
    • 90 Critic Score
    Overall, though, these songs are meant to exist in a complete volume, tied together gracefully with a sweetness that belies their complexity.
    • 50 Metascore
    • 40 Critic Score
    There's an abundance of low-wattage boasts about financial and libidinal surpluses, most of which could have been composed by a generator. Softer and more melodic cuts are indicated with all-lowercase track titles. ... If Yachty can find a way to be his goofy self and elevate his writing, he can rebound.
    • 63 Metascore
    • 70 Critic Score
    Listeners put off by Nash's cheekiness in the past may find her more relatable here, or at least more compelling, though Yesterday Was Forever still refuses to pander.
    • 63 Metascore
    • 50 Critic Score
    Apart from the sly and sweet 2-step rhythm on "Wasted Times," the sound of the EP is bleary R&B with beats that drag and lurch, suited for Tesfaye's routine swings between self-pity and sexual vanity, chemically enhanced from one extreme to the other.
    • 80 Metascore
    • 80 Critic Score
    We're Your Friends, Man proves that they (he?) haven't lost a bit of their vision and skill, and while it's hard to say where one should start investigating the Bevis Frond's massive body of work, this will give you the lay of the land just as well as most of their albums.
    • 76 Metascore
    • 80 Critic Score
    Romano has always been a tough artist to pigeonhole, but there's a feeling here of having shed a few more layers and dug a little deeper into his psyche, and the results are frequently exhilarating.
    • 87 Metascore
    • 80 Critic Score
    In looking to capture the ugliness of humanity and parse through the despair that slithers malevolently in its wake, Daughters have crafted their most vital outing to date.
    • 81 Metascore
    • 80 Critic Score
    As arranged by Good and Ferry, these are all wry and romantic productions that evoke the smoky ambiance of Babylon Berlin's Weimar Republic-era setting. Elsewhere, Ferry transforms the new wave sophistication of "While My Heart Is Still Beating" off 1982's Avalon into a slinky, half-lidded crawl, and similarly mutates the pop exotica of his 1985 title track "Boys and Girls" into a slow-burn flamenco fever dream.
    • 74 Metascore
    • 80 Critic Score
    Later lyrical transgression aside, the LP is a pleasurable thrill ride.
    • 46 Metascore
    • 50 Critic Score
    Skins takes that unrealized potential and cobbles together these tracks--basically b-sides and outtakes--strictly for fans who needed just ten more reasons to hear his voice.
    • 71 Metascore
    • 80 Critic Score
    Clocking in at over an hour, The Prophet Speaks breezes through its run-time with memorable performances and joyous vibes. This is a late-career surge that is all the more remarkable because Morrison really seems to be enjoying himself--he continues to hunger after the music that inspired his vocation in the first place.
    • 88 Metascore
    • 80 Critic Score
    What really makes this collection worthwhile is how these robust performances put the lie to the notion that acoustic Neil is sad, sensitive Neil.
    • 78 Metascore
    • 70 Critic Score
    They take more risks this time around, but not in a way that alienates the listener. The result is a sublime collection of freely expressive grooves which uplift and inspire.
    • 84 Metascore
    • 70 Critic Score
    Hey! Merry Christmas! delivers a solid shot of good cheer for the holidays, and if this doesn't get a party started when you put it on, you and your friends need to ask Santa to bring you some coolness.
    • 89 Metascore
    • 80 Critic Score
    Socks is a durable holiday gift, but one that's immensely more fun and enjoyable than its wry title implies.
    • 68 Metascore
    • 70 Critic Score
    This can result in highly intriguing experiences, such as the industrial drift of opening track "One on One" and the riveting "My Body," which matches its physical lyrics with muscular, glitchy drumming. Other tracks seem to meander a bit, however, and are hard to grasp at first. Still, the duo's haunting blend of challenging electronics and introspective, sometimes cathartic lyrics sounds unmistakably unique.
    • 76 Metascore
    • 80 Critic Score
    Ens
    Supremely joyous and creative, Ens feels like the beginning of a new chapter for Holtkamp, and it's one of his most enjoyable works.
    • 75 Metascore
    • 80 Critic Score
    Those who expected Blow. to be McCaslin's return to jazz will likely be disappointed. That said, those who enjoy adventurous rock--indie, prog, and otherwise--will likely find the album to be greatly enjoyable and perhaps even revelatory.
    • 77 Metascore
    • 60 Critic Score
    The spacious nature of Sequence makes it a challenging listen even for those versed in experimental approaches. At times the band's long-winded emptiness is as easy to lose focus on as it is to be mesmerized by. Patient listening, however, reveals a tightly focused and deliberately crafted work by a band pushing their art forward at an aggressive pace.
    • 82 Metascore
    • 70 Critic Score
    While simple and often musically somnolent, its heart-wrenching effect is ultimately hard to shake.
    • 87 Metascore
    • 80 Critic Score
    For all its entertaining art-pop feats, Isolation is just as remarkable for serious moments like "Killer," in which Uchis reaches a high degree of anguish that only real-life experience can arouse.
    • 80 Metascore
    • 80 Critic Score
    With eight tracks and a playing time of 30 minutes, it's an efficient debut without a weak song in the bunch, one noteworthy for its poise as well as its engaging eccentricity.
    • 81 Metascore
    • 90 Critic Score
    It's a lovely and deeply creative record that came so late in his career that it appeared to have already been relegated to history.
    • 78 Metascore
    • 80 Critic Score
    He's mined this territory before, notably in Gorillaz's Demon Days, yet the very fact that the Good, The Bad & The Queen function as a band, drawing strength from their own interplay, gives Merrie Land a human resonance that echoes long after the final song ends.

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