Clash Music's Scores

  • Music
For 2,600 reviews, this publication has graded:
  • 55% higher than the average critic
  • 4% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 0.1 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Bright Phoebus [Reissue]
Lowest review score: 10 Until One
Score distribution:
2600 music reviews
    • 82 Metascore
    • 80 Critic Score
    ‘A Written Testimony’ is a biblical album for biblical times, with enough human flaws to make it imperfect.
    • 89 Metascore
    • 90 Critic Score
    ‘Saint Cloud’ is the refreshed, reformed and matured Waxahatchee – and it’s glorious.
    • 84 Metascore
    • 80 Critic Score
    ‘Before Love Came To Kill Us’ has a number of strong tracks and is an excellent debut. Jessie Reyez appears to be in total control of this record and shows off her versatility, as well as her rage.
    • 82 Metascore
    • 80 Critic Score
    925
    An authentic and contemporary guitar sound, ‘925’ is a snappy and raw blend that bounces the listener into the more unexpected edges of the imagination.
    • 85 Metascore
    • 90 Critic Score
    Porridge Radio have not only written the album of their careers but possibly of the year too. Their new project ‘Every Bad’ is full of the catchy songs that are overflowing with lo-fi ramshackle post-punk guitars and uplifting vocals.
    • 84 Metascore
    • 80 Critic Score
    Overall, aside from a lack of sonic variety from song to song, ‘Velvet’ is a strong showcase of a soundscape that is – pun intended – smooth as velvet.
    • 82 Metascore
    • 80 Critic Score
    Production-wise especially, this is The Weeknd’s strongest project yet, and deserves all the recognition.
    • 88 Metascore
    • 90 Critic Score
    ‘Future Nostalgia’ is an empowering, dynamic pop cavort from start to finish. Dua’s compelling vocals, hooks and beats are a force to be reckoned with, daring you not to boogie around your bedroom.
    • 79 Metascore
    • 70 Critic Score
    ‘High Risk Behaviour’ clocks in at under half an hour which is a good job considering The Chats only have one trick, but strewth they do that trick well.
    • 75 Metascore
    • 80 Critic Score
    Righton paints the perfect picture of his inner thoughts as he embarks on a cinematic journey with poignant lyricism, exquisite production and charismatically seductive soundscapes reminiscent of Roxy Music.
    • 72 Metascore
    • 80 Critic Score
    ‘Aporia’ certainly asks a degree of patience from its listener – the kind often reserved for previously-existing fans of Stevens – to realise its full potential, but over the last few decades the number of listeners able to give this patience has grown exponentially, just in time for Stevens to push boundaries that bit further once again.
    • 70 Metascore
    • 70 Critic Score
    From infectious single ‘Ego’ and to sobering dream pop song ‘Connect The Dots’, his determination to look for solace beyond right and wrong is palpable. We believe he is riddled with guilt – and that is a testament to Solomon’s talent. By comparison, the second half of ‘Uneasy Laughter’ is almost void of internal conflict, even if it remains melodically accomplished.
    • 83 Metascore
    • 50 Critic Score
    ‘42.26’ - unmasked as the previously released ‘Feels Like Summer’ - and ‘47.48’ (which features his son Legend Glover) are the only other enjoyable tracks on the project. The other songs seem to fade and ultimately becomes background noise with no proper substance compared to Donald Glover’s other projects. Lacking the strong narrative thrust so apparent on his past albums, the project is incredibly disappointing.
    • 72 Metascore
    • 80 Critic Score
    An energetic and vibrant project, that is exactly what the music scene needed in such an uncertain time. One of J Balvin’s strongest projects to date.
    • 69 Metascore
    • 50 Critic Score
    For all its crystallised pop production, ’Ricky Music’, can’t help but feel flat. More concerned with evoking a feeling and mood rather than say anything explicit about the sadness, confusion and joy that Maine has experienced in the creation of the record beyond broad stereotypes of sadness.
    • 84 Metascore
    • 90 Critic Score
    Code Orange’s aim is not to upset the status quo but to rob it. Are they delusional? Absolutely, but the sheer, clear-eyed ambition they exhibit in pursuing the impossible is compelling enough to make ‘Underneath’ an absolute must-hear for anyone who dares to dream differently.
    • 73 Metascore
    • 70 Critic Score
    Despite sometimes failing to embrace the originality that made its predecessors so popular, it has some exceptional moments.
    • 67 Metascore
    • 70 Critic Score
    With ‘Weather’ it’s Saint Sinner’s vocals that give the project direction; when these are stripped away on ‘Simulcast’, it’s up to the listener to find a way though, to draw the conclusions. And it’s these personal conclusions that make ‘Simulcast’ arguably a far more engaging and interesting experience than ‘Weather’.
    • 80 Metascore
    • 80 Critic Score
    Collector is clever, catchy and addictive, and gets better with repeat plays. You can only imagine he and Disq know exactly what they’re doing.
    • 84 Metascore
    • 80 Critic Score
    Starmaker is a joy from start to finish. Together, each song on this debut album supports Honey Harper’s ambition to bring his cosmic country into a wider setting and he does it with currency and aesthetics.
    • 83 Metascore
    • 90 Critic Score
    The pacing can get interrupted somewhat by the sheer amount of skits on here, and a Jay Sean featuring ‘Any Day’ slams on the brakes mid-album, but other than that this is a tightly packed, lightning-quick swing at the racism of British society. Riz Ahmed might now be more famous for his acting, but he’s been making music since he was a teenager – and on this album, it shows.
    • 91 Metascore
    • 80 Critic Score
    A rich, rewarding, and extremely direct return, one worth observing on its own terms.
    • 73 Metascore
    • 70 Critic Score
    If you’re in the right mood, it’s a fun slice of cosmic silliness that absolutely deserves to be packed away in your coolbox and brought out, nicely chilled, in approximately five months’ time. However, if your vibe is even slightly off then it can quickly become annoying in that subtle way that’s hard to register at first, but soon makes itself felt.
    • 77 Metascore
    • 70 Critic Score
    Dreamy but real, hazy but pure and insightful, this project facilitates fresh ambition and explores new ground for Real Estate. And maybe, this record will take them even closer to that elusive ‘main thing’.
    • 69 Metascore
    • 80 Critic Score
    Forged at the intersection between positive and negative, romances and crumbling relationships, ‘Vices’ is a celebratory collection of a real-life instances represented in song - and it is as perfectly imperfect as real life itself.
    • 78 Metascore
    • 70 Critic Score
    'Ordinary Man' is far from perfect, but all Ozzy Osbourne's solo releases tend to reflect their creator's flaws to one degree or another. It does, however, absolutely succeed on its own terms, serving its purpose by reminding the world just what we'll miss when this titan among titans finally departs us for good.
    • 82 Metascore
    • 80 Critic Score
    Although the sound of the album is wide-ranging, it holds continuity through its lyrics and general sentiment. K-Pop after all is an inherently genre-blending style of music, so it’s no surprise.
    • 82 Metascore
    • 80 Critic Score
    ‘Companion Rises’ is an easy listen and utterly gorgeous with it.
    • 80 Metascore
    • 80 Critic Score
    The record feels slick and polished, yet natural and unnatural. Like Grimes’ previous music, it’s a scary, ambient, and muddlingly beautiful mess.
    • 73 Metascore
    • 80 Critic Score
    ‘Man Alive!’ is an absorbing consolidation of Marshall’s inimitable sound.