Uncut's Scores

  • Music
For 8,946 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 Investigate Witch Cults Of The Radio Age
Lowest review score: 10 Let Me Introduce My Friends
Score distribution:
8946 music reviews
    • 81 Metascore
    • 80 Critic Score
    Doesn't reveal itself in haste but rather unfolds over time and through multitudinous layers. [Nov 2019, p.23]
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    • 78 Metascore
    • 80 Critic Score
    Another delightful exercise in musical brevity and lyrical snark. [Oct 2019, p.24]
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    • 76 Metascore
    • 80 Critic Score
    Opulent, perverse and reassuringly other-worldly. [Oct 2019, p.30]
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    • 74 Metascore
    • 70 Critic Score
    Guitarists Rich Robinson and Marc Ford, bassist Sven Pipien and the three seasoned players they've recruited stretch out stylistically on the sequel. [Nov 2019, p.28]
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    • 82 Metascore
    • 80 Critic Score
    Across this record, you could spend days unravelling the songwriting. [Nov 2019, p.22]
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    • 73 Metascore
    • 50 Critic Score
    As ever, the technical chops are indisputable--but it does, with fewer brains on board, feel somehow less substantial. [Nov 2019, p.22]
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    • 77 Metascore
    • 80 Critic Score
    Shepherd's most eclectic album to date, a richly pleasurable balancing act between brain and body, academic seminar and night club, cerebral experiment and sensory feast. [Nov 2019, p.32]
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    • 76 Metascore
    • 80 Critic Score
    Ten-minute sonic odyssey "Neptune" provides a typically overblown finale, but it's INXS-style banger "The Runner" that will further cement their place at indie rock's top table. [Nov 2019, p.25]
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    • 83 Metascore
    • 80 Critic Score
    Following on from a 2017 album of standards, this chiefly replaces covers with original compositions and adds a meaningful, Slint-like loitering on chord to his repertoire of shattered blues licks. [Nov 2019, p.30]
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    • 85 Metascore
    • 90 Critic Score
    Dawson's most direct album to date. ... It's hard not to conclude that 2020 is the record we need now: a state-of-the-nation address for a nation in a bit of a state. [Nov 2019, p.20]
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    • 82 Metascore
    • 80 Critic Score
    This is a corporeal and cacophonic record, but all ear-bleeding mayhem it isn't. ... Lightning Bolt continue to spark. [Nov 2019, p.28]
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    • 73 Metascore
    • 70 Critic Score
    This new emphasis on alt.rock songcraft can leave frontwoman Arrow de Wilde sounding little constrained, which may be why she sounds so thrilled to unleash her inner Iggy on "Toy teenager" and "Rich Taste." [Nov 2019, p.33]
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    • 84 Metascore
    • 80 Critic Score
    There are moments of redemption as songs such as "On Deronda Road" and Weightless" celebrate life's capacity for renewal. But make no mistake: this is a dark record for dark times. [Nov 2019, p.25]
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    • 78 Metascore
    • 70 Critic Score
    Lanegan's lyrics are as daft as ever. But that growling baritone voice and the soundscapes are never less than compelling. [Nov 2019, p.27]
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    • 67 Metascore
    • 70 Critic Score
    Even if Lahs isn't quite the album Allah-Las believed they were making, it's still a minor marvel. [Nov 2019, p.21]
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    • 86 Metascore
    • 80 Critic Score
    Two Hands is more grounded [than U.F.O.F.]. ... The music is also rawer and more immediate. [Nov 2019, p.22]
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    • 80 Metascore
    • 80 Critic Score
    An uniformly compelling set. [Nov 2019, p.27]
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    • 77 Metascore
    • 80 Critic Score
    A thrilling racket it is too, the quartet achieving a winning balance of improv and melodic suss on a bunch of hairy psychedelic jams. [Oct 2019, p.26]
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    • 82 Metascore
    • 80 Critic Score
    White Noise/White Lines is a compelling showcase for both her admirable songwriting skills and, as Prine puts it, "One of the more authentic country voices I've heard in a long time." [Nov 2019, p.24]
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    • 84 Metascore
    • 80 Critic Score
    A passionate and muscular record that oozes cool in every note. [Nov 2019, p.30]
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    • 81 Metascore
    • 70 Critic Score
    Deceiver sees them return in a better mental state but with much the same spirit as when they left, delivering wafting waves of shimmering guitar over lyrics that hint at drama and turmoil. [Nov 2019, p.24]
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    • 76 Metascore
    • 80 Critic Score
    Their most imaginative and immersive album yet, with Webber emerging as a more commanding frontwoman. [Nov 2019, p.28]
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    • 81 Metascore
    • 90 Critic Score
    Songs Of Our Mothers taps into something much bigger than itself. ... It also helps that the music is quite remarkable. [Oct 2019, p.38]
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    • 84 Metascore
    • 80 Critic Score
    It's a warm, beguiling set that tips its hat to roots music interpreters as disparate as Hoyt Axton, Fairport Convention, Dolly Parton, The Byrds and Bobbie Gentry, wile also tapping Cajun fiddle music and the work of Ralph Mooney. [Nov 2019, p.23]
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    • 81 Metascore
    • 90 Critic Score
    Finely honed reflections that add a new perspective to the conversation of politics. ... The songs here are simple, but they contain multitudes. [Oct 2019, p.25]
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    • 89 Metascore
    • 80 Critic Score
    All Mirrors is her boldest reinvention yet. [Nov 2019, p.30]
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    • 80 Metascore
    • 70 Critic Score
    An intriguing body of work. [Nov 2019, p.22]
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    • 79 Metascore
    • 80 Critic Score
    If Texas is a deliberately ambiguous assessment of Crowell’s home state, it’s also a resounding endorsement of the enduring powers of its composer.
    • 75 Metascore
    • 70 Critic Score
    This is a downbeat set, lean and lonesome yet never morose. [Nov 2019, p.38]
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    • 68 Metascore
    • 50 Critic Score
    Temples seem to be in the thrall of Tame Impala's retro-futurism, but their in-studio moves fall short of Kevin Parker's aerodynamic wizardry, although they come tantalisingly close on "You're Either On Something," nimbly balancing delicacy and majesty. [Oct 2019, p.36]
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