Uncut's Scores

  • Music
For 8,444 reviews, this publication has graded:
  • 51% higher than the average critic
  • 4% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 1.9 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 SMiLE
Lowest review score: 10 Let Me Introduce My Friends
Score distribution:
8444 music reviews
    • 74 Metascore
    • 70 Critic Score
    Their most accessible and melodic yet. [Dec 2018, p.25]
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    • 74 Metascore
    • 80 Critic Score
    A sumptuous set of gloriously gloomy ballads that emphasise Moss's expressiveness as a vocalist. [Dec 2018, p.28]
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    • 74 Metascore
    • 80 Critic Score
    Shabason again blurs genre boundaries with impeccable judgement and such understatedly emotional approach that the tag "ambient jazz" sounds like a slight. [Jan 2019, p.25]
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    • 67 Metascore
    • 50 Critic Score
    He overthinks the rambling "JTR" and overstuffs the messy collage "Monkey Man."[Dec 2018, p.33]
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    • 79 Metascore
    • 70 Critic Score
    The outer skein of mystical mystery shelters a clutch of slyly insistent melodies. [Jan 2019, p.21]
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    • 76 Metascore
    • 70 Critic Score
    It's a warmly pristine, groovily poignant set, with vocals pitched for gender neutrality and an ear for a great hook. [Jan 2019, p.23]
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    • 71 Metascore
    • 80 Critic Score
    Simultaneously her most formally experimental and melodically palatable yet. [Jan 2019, p.25]
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    • 82 Metascore
    • 80 Critic Score
    Every track hits its target. [Jan 2019, p.27]
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    • 88 Metascore
    • 80 Critic Score
    The set's ordering is exemplary, especially given its size, but diving in at random reaps the richest rewards, throwing up unexpected complements and contrasts. ... It's a trip for devotees and newcomers alike. [Jan 2019, p.41]
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    • 89 Metascore
    • 80 Critic Score
    And Justice For All remains their most pivotal and arguably their most divisive album. ... Lots of demos, rough mixes, studio jams and live numbers that show how powerful the new lineup sounded away from the studio. [Jan 2019, p.37]
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    • 75 Metascore
    • 80 Critic Score
    This stripped-down set from the Palace/Bonnie songbook is a reminder of what a great singer Oldham has become. [Jan 2019, p.23]
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    • 72 Metascore
    • 70 Critic Score
    Sparklingly produced, clean-cut and sweetly tuneful songs. [Jan 2019, p.23]
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    • 77 Metascore
    • 70 Critic Score
    An intimate, unfiltered snapshot of rough-hewn excellence. [Jan 2018, p.21]
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    • 81 Metascore
    • 70 Critic Score
    [B.E.D.'s] conversational neo-electroclash ditties are slight but hugely charming. [Jan 2019, p.20]
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    • 85 Metascore
    • 80 Critic Score
    ["Cheyenne" is] keenly observed and beautifully realised, which goes for most everything on Interstate Gospel. [Jan 2019, p.20]
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    • 79 Metascore
    • 80 Critic Score
    A series of esoteric, danceable, frequently amusing stories about sleeping in gardens, body waxing and Swansea. [Jan 2019, p.19]
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    • 66 Metascore
    • 50 Critic Score
    Once a songwriter with a deft facility for catchy hooks, his melodies droop under the lethargic tempos, turning his self-deprecation into something like self-absorption. [Jan 2019, p.22]
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    • 57 Metascore
    • 60 Critic Score
    On their fourth album, all pretense at rootsy authenticity is gone--this is machine-tooled stadium pop, with producer Paul Epworth in the Brian Eno role. [Jan 2019, p.22]
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    • 68 Metascore
    • 70 Critic Score
    There's no flash and no trash, just reflective, ripe, minor-key ruminations, plenty of melodically burnished guitar playing and Knopfler's voice, which has crusted nicely with age to take on a warm, rich burr. Classy. [Dec 2018, p.27]
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    • 77 Metascore
    • 70 Critic Score
    There's a fine line between the sincerely wistful and contemplative and the nostalgic and morose, but Merrie Land understands where the borders are and stays within them. [Jan 2019, p.18]
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    • 78 Metascore
    • 80 Critic Score
    Ghost Forests is a sensual record where the spaces in between the sounds assume a corporeality all their own. [Dec 2018, p.26]
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    • 97 Metascore
    • 80 Critic Score
    Hendrix's genius really was for compact, tightly honed pop-rock, where his playing could court restraint, embracing a kind of flinty, tensile groove. The psychedelic drift of "Rainy Day, Dream Away" is the highlight; the extra live and demo material will keep fans happy, but adds little of note tot he story. [Dec 2018, p.42]
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    • 79 Metascore
    • 80 Critic Score
    A fascinating accompaniment to Hollander's book of the same name. ... Superb collection. [Dec 2018, p.46]
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    • 76 Metascore
    • 70 Critic Score
    The smoother strains of the folk-tinged "Within Each Day" and "If You Are Leaving" make a bigger impression, confidently stepping out from his elder sibling's shadow. [Dec 2018, p.41]
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    • 100 Metascore
    • 90 Critic Score
    Martin's new stereo mix succeeds, principally through lightness of touch. ... Over 107 tracks, we learn that the making of The White Album was not quite the frigid stand-off that we might have been led to believe. But nor does this glimpse behind the curtain diminish The White Album's mystique. [Dec 2018, p.34]
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    • 66 Metascore
    • 70 Critic Score
    Goldblum knows his limitations and never sounds out of his depth. ... Good stuff. [Dec 2018, p.25]
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    • 63 Metascore
    • 80 Critic Score
    Their best, boldest, most unashamedly poptastic album yet. [Dec 2018, p.28]
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    • 77 Metascore
    • 80 Critic Score
    No frontiers are breached, but Mascis's cracked vocals and melancholic melodic turns only get more affecting with age. [Dec 2018, p.28]
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    • 81 Metascore
    • 80 Critic Score
    The airy, uncomplicated sound recalls a rural expanse, with St Louis’s hushed confidence guiding the listener through fields and along banks. [Nov 2018, p.33]
    • 79 Metascore
    • 80 Critic Score
    The most heart-wrenching selection are a ravaged take on Nirvana's "Stay Away" in which Bradley intuitively taps into Kurt Cobain's roiling anguish, a tonsil-shredding full-band rendition of "Victim Of Love" and the instrumental "Black Velvet," which Brenneck had earmarked for a Bradley vocal he was too weak to sing. [Dec 2018, p.23]
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