The Skinny's Scores

  • Music
For 966 reviews, this publication has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 0.6 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 European Heartbreak
Lowest review score: 20 Dead Magic
Score distribution:
  1. Negative: 5 out of 966
966 music reviews
    • 77 Metascore
    • 80 Critic Score
    The Caretaker is not for the fainthearted, nor is it designed to be background music: it demands to keep your full and undivided attention.
    • 84 Metascore
    • 40 Critic Score
    925
    Too many of the tracks dissolve into an atmosphere-for-the-sake-of-it sludge, yanking you into consciousness only every once in a while.
    • 77 Metascore
    • 80 Critic Score
    Snapshot of a Beginner might be their most focused and uplifting release to date.
    • 71 Metascore
    • 60 Critic Score
    New Me, Same Us finds its vigour in the sweet spot between pure pop and the band’s more adventurous tendencies. When an emotionally-charged, jazz-inspired piano climax cuts through the otherwise smooth veneer of New Fiction or when Where You Belong leans fully into a part-funk, part-R'n'B groove, the band really hit their stride. It’s just a shame there are some stumbles on the way.
    • 89 Metascore
    • 80 Critic Score
    That’s not to say that Saint Cloud is all moments of quiet self-reflection. Crutchfield’s artful command of heartfelt truths is still present and correct.
    • 69 Metascore
    • 80 Critic Score
    Chaos often ensues within oneself following heartbreak, and Maine captures that devastating chaos beautifully on Ricky Music, sometimes too accurately. It’s not always an easy listen, but it’s certainly a very relatable one.
    • 85 Metascore
    • 80 Critic Score
    With four years between their debut Rice, Pasta and Other Fillers, Every Bad is similarly anxious and seeking validation, endearing itself desperately to any listener who’s ever felt the same way.
    • 69 Metascore
    • 60 Critic Score
    Deap Lips works best when Wayne Coyne and Steven Drozd are in the background, as messy closer There Is Know Right There Is Know Wrong proves, but the fact that they know when to keep themselves there suggests they’ve learned lessons from With a Little Help from My Fwends. An intriguing diversion.
    • 84 Metascore
    • 60 Critic Score
    Ultimately, although it’s more immediate than their 2016 record, what you gain from We Are Sent Here By History will be dictated by how much you connect with its musical vision. Sink into its groove though and it’s an album that presents a fascinating societal commentary.
    • 80 Metascore
    • 80 Critic Score
    A record that thrives on its biocentric themes, it’s one you won’t want to leave behind.
    • 80 Metascore
    • 80 Critic Score
    It's not a record that's overly concerned with coherence, but the freedom to experiment suits Malkmus well, especially when he lets the ideas dictate the music without trying to adhere to any sort of thematic cohesion.
    • 83 Metascore
    • 80 Critic Score
    Produced by Remy and recorded live with 20 session musicians, Heavy Light is rich, textured and sonically huge.
    • 83 Metascore
    • 100 Critic Score
    Out of My Province finds Reid on magnificent form. ... For all the emotion she conveys and coaxes from the listener, she sounds like she’s been singing these songs all her life. Like all her thrilling and incredibly distinctive inflections come as easy as breathing.
    • 77 Metascore
    • 80 Critic Score
    Creative, life-affirming, funny and beautiful, Thumb World gets the thumbs up.
    • 71 Metascore
    • 80 Critic Score
    It never feels like an escapist project. It becomes an expression of the bleed between the unconscious and the world around us, through often beautiful, always unsettling music.
    • 81 Metascore
    • 100 Critic Score
    Sophie Allison, aka Soccer Mommy, just keeps getting better. Her latest record surpasses any expectations set by 2018’s Clean, which set her apart from the crowd with its effortlessly cool pop energy, razor-sharp riffs and wise takes on adolescent turmoil. With color theory, Allison revives a fiery and rebellious noughties aesthetic, upgraded with enchanting sonic clarity.
    • 84 Metascore
    • 80 Critic Score
    It's a beautiful album that requires patience and provokes instrospection, while still retaining the gorgeous discotronics and expertly stitched samples that come with a Caribou release.
    • 69 Metascore
    • 80 Critic Score
    While Peggy Sue never quite reached the dizzy heights of Mumford and Sons’ stadium-sized tours, their artfully woven narratives are more than double-tap worthy of it.
    • 80 Metascore
    • 60 Critic Score
    Miss Anthropocene is an uneven record, and one that arrives with considerable baggage that threatens to turn it into a punching bag. But Grimes' proven abilities as a producer win out. There are superfluous, overlong passages, especially when the brightness in her music drains away.
    • 75 Metascore
    • 80 Critic Score
    Hyacinth sees a strong progression in production values from its predeccesor. While there's a widening of Spinning Coin's scope here, there's still a tendancy to stick to a familiar formula across the album. Thankfully, they do it well.
    • 76 Metascore
    • 60 Critic Score
    Look At Us Now Dad is at its best when it treads further into experimental territory. ... Unfortunately, it can be frustrating that this isn’t emphasised more fully or frequently but still gives a glimpse into where Banoffee could ultimately head.
    • 66 Metascore
    • 80 Critic Score
    That there’s room for experimentation, too (see the spoken word outro to Graceless Kids, or the spacey closer Used to Be) speaks to her confidence. This is the record she wanted us to think California Nights was.
    • 78 Metascore
    • 60 Critic Score
    Whilst it’s fair to say that the offering has been fine-tuned somewhat (frontwoman Lili Trifilio has all but ditched the Courtney Barnett schtick in favour of a far more direct punk-pop far closer in tone to early Paramore), it’s still a solid effort.
    • 79 Metascore
    • 80 Critic Score
    This time it’s only a partial reinvention, but by the time the huge guitars and stereo panning of One More Hour fade away, there’s no doubt that Kevin Parker is a man with his own unique sense of time.
    • 78 Metascore
    • 60 Critic Score
    Seven years on from their first record, Shopping are still giving audacious levels of energy. It would be interesting to see the band develop their electronic experiments even further in their next album; though All or Nothing builds on its predecessor, it only gives us a taste of what the trio can do when left alone with a synth.
    • 81 Metascore
    • 80 Critic Score
    There Is No Other is a similar, gentle masterpiece [to Beck's Morning Phase], but there's leather located behind the silk and the record packs an emotional punch.
    • 80 Metascore
    • 60 Critic Score
    Aside from the heavenly chorus that opens the title track, this feels very much like business as usual – which is no bad thing. Nada Surf are a fine guitar pop band. There’s not much sense on Never Not Together of them looking to change things up.
    • 67 Metascore
    • 40 Critic Score
    Overall, there's a real sense that La Roux is on autopilot, resulting in a ‘samey’ sound that struggles to hold the listener’s attention.
    • 78 Metascore
    • 60 Critic Score
    It takes repeated plays to reveal the subtle depths, the pump organ, accordion, electric bass, melodica, mellotron.
    • 84 Metascore
    • 80 Critic Score
    Navarasa: Nine Emotions is a rollercoaster of vibrancy.