Uncut's Scores

  • Music
For 9,026 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 1.8 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 Era Vulgaris
Lowest review score: 10 Let Me Introduce My Friends
Score distribution:
9026 music reviews
    • 76 Metascore
    • 70 Critic Score
    Wet Tuna really find their sound in the spacier moments. [Nov 2019, p.33]
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    • 100 Metascore
    • 90 Critic Score
    This anthology perfectly encapsulates The Go-Betweens' irresistible, evergreen and still expanding appeal. [Jan 2020, p.34]
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    • 77 Metascore
    • 80 Critic Score
    It's sometimes more about the journey than the getting there, and the contents of this latest Bowie box help document many of the steps. ... The 1969 Space Oddity record remains more than its title track, the tender love songs particularly strong. It's a hippie record of social observation and heavy inner trips, Bowie's wit and tenderness rendering it a cut above. [Dec 2019, p.41]
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    • 80 Metascore
    • 70 Critic Score
    Some of them meet him in his world, while others drag him into theirs. ... A third way to approach these songs: Fiona Apple and Robbie Fulks manage to pretend that their world is Mose's. [Jan 2020, p.24]
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    • 77 Metascore
    • 70 Critic Score
    It's a mix that captures the zeitgeist appetite for the melding of jazz, R&B and electronic sounds while also celebrating the path that led there. [Jan 2020, p.31]
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    • 85 Metascore
    • 80 Critic Score
    Revitalising his finest work with unlikely guests performing unlikely roles. [Jan 2020, p.31]
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    • 82 Metascore
    • 80 Critic Score
    The live setting and frontman Joe Talbot's inter-song exhortations heighten the feeling of being sucked into communal catharsis. [Jan 2020, p.26]
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    • 79 Metascore
    • 80 Critic Score
    Unfussy yet poetic. [Aug 2019, p.31]
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    • 75 Metascore
    • 80 Critic Score
    An intense and dizzying work. [Jan 2020, p.26]
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    • 85 Metascore
    • 80 Critic Score
    Every song here is a miniature gem of its kind. [Nov 2019, p.22]
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    • 79 Metascore
    • 70 Critic Score
    [Rainford] was haled as a return to form, and Heavy Rain--an album of re-versions helmed by Sherwood accompanied by a suite of guests--feels similarly vital. [Jan 2020, p.28]
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    • 81 Metascore
    • 90 Critic Score
    A mutant strain of noisy funk, hip-hop, subversive art punk and dirty disco. [Dec 2019, p.35]
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    • 83 Metascore
    • 80 Critic Score
    Poet Joshua Idehen adds desperate, apocalyptic testimony to the opening of "All That Matters Is The Moments," while "The Lifeforce Part I" and "II" gradually dial up the intensity, Hutchings blowing with dervish energy as drums and synth lock into a spiraling groove. [Jan 2020, p.25]
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    • 79 Metascore
    • 70 Critic Score
    Shlon is in some senses a return to his roots, combining the lush Arabic romance poetry of collaborator Moussa al Mardoud with Hasan Alo's techno arrangements. [Jan 2020, p.28]
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    • 80 Metascore
    • 70 Critic Score
    It's his terrific wordplay--sharp, funny, poignant and much more--that really dazzles. [Dec 2019, p.29]
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    • 72 Metascore
    • 70 Critic Score
    These are quite logical, tuneful explorations. [Dec 2019, p.32]
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    • 77 Metascore
    • 80 Critic Score
    Sounds great, but a little superfluous. [Jan 2020, p.28]
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    • 73 Metascore
    • 70 Critic Score
    An intriguingly diverse "double" (well, 53 minutes) album. [Jan 2019, p.25]
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    • 83 Metascore
    • 80 Critic Score
    It brings together the many facets of Sudan Archives--religious and sensual, independent and codependent, tender and menacing--in a way that feels very deliberate, particularly when you learn that the final tracklisting was whittled down from around 60 potential songs. [Dec 2019, p.28]
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    • 78 Metascore
    • 70 Critic Score
    Another graceful tug-of-war between sentimental melody and muscular noise. [Jan 2020, p.25]
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    • 78 Metascore
    • 70 Critic Score
    The resulting album is a thing of gossamer beauty. [Dec 2019, p.25]
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    • 69 Metascore
    • 70 Critic Score
    Lovely stuff. [Dec 2019, p.29]
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    • 79 Metascore
    • 90 Critic Score
    WHO
    It's spellbinding, shiver-down-the-spine stuff, and enough to have any self-respecting Quadropheniac dusting down their scooter for one last run down to Brighton. ... Their best since Quadrophenia, then. [Dec 2019, p.22]
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    • 77 Metascore
    • 80 Critic Score
    Hyperspace never feels over calculated or overdressed. Instead, it's the work of an artist who sounds fully re-engaged. [Jan 2020, p.20]
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    • 84 Metascore
    • 80 Critic Score
    Thanks For The Dance has the intimacy that characterised Songs Of Leonard Cohen and Songs From A Room half a century ago, only rarely making the listener conscious of the resources at Adam Cohen's command. [Jan 2020, p.14]
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    • 85 Metascore
    • 80 Critic Score
    Striking enough on their own merits, free of embellishments, all the more powerful for the immediacy of the moment. Simplicity is the key here. [Jan 2020, p.26]
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    • 83 Metascore
    • 70 Critic Score
    Appealing collection of African folk songs played on curiously tuned guitars and percussion fashioned from farm implements by a trio of survivors from Rwanda's ruinous genocide. [Dec 2019, p.27]
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    • 96 Metascore
    • 90 Critic Score
    This 50th anniversary reissue of their faultless second LP still digs deep to find six unreleased studio cuts. [Jan 2020, p.39]
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    • 94 Metascore
    • 90 Critic Score
    Some will prefer the stripped-back, elemental performances that are compiled on the extra disc, and they are certainly magnificent recordings in their own right. But part of No Other's magic is its ambition. [Dec 2019, p.36]
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    • 60 Metascore
    • 70 Critic Score
    Wood is in his element, delivering needle sharp licks and belting the classic, while a passing Imelda May adds some serious sizzle to "We Wee Hours." [Dec 2019, p.35]
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