Filter's Scores

  • Music
For 1,801 reviews, this publication has graded:
  • 71% higher than the average critic
  • 3% same as the average critic
  • 26% lower than the average critic
On average, this publication grades 2.6 points higher than other critics. (0-100 point scale)
Average Music review score: 75
Highest review score: 96 Complete
Lowest review score: 10 Drum's Not Dead
Score distribution:
1801 music reviews
    • 71 Metascore
    • 74 Critic Score
    Underneath the Rainbow shoots for crossover appeal without compromising their tried-and-true aesthetic.
    • 67 Metascore
    • 70 Critic Score
    Back to front, Blame Confusion consists of balls-to-the-wall bangers. When the pace slows down, it isn’t by much.
    • 73 Metascore
    • 78 Critic Score
    Love Letters may not guarantee that Metronomy are the kings of their sound, but they still have a seat at the table.
    • 86 Metascore
    • 78 Critic Score
    The band may have switched the formula, but the solution still adds up.
    • 64 Metascore
    • 80 Critic Score
    A major label debut filled with the sound of his smoky baritone voice, front and center.
    • 59 Metascore
    • 74 Critic Score
    A rare debut, as well crafted as it is likeable.
    • 78 Metascore
    • 78 Critic Score
    The geetars are as crisp as 100-dollar bills, vocals more in-your- face than a protester at the height of a rally; it’s a resounding success, at least from an artistic standpoint.
    • 78 Metascore
    • 80 Critic Score
    Post Tropical should gain McMorrow plenty of new fans, and it certainly won’t lose him any.
    • 76 Metascore
    • 80 Critic Score
    Although it may be too early to tell, if the rest of his future solo albums sound anything like his debut, then this scrappy kid definitely has a bright future in the music biz.
    • 82 Metascore
    • 74 Critic Score
    Grace is in-your-face with an aggressively told tale of selfhood (to say nothing of the heartbreak of loss) at its most exposed and anthemic.
    • 80 Metascore
    • 72 Critic Score
    This is stately, gentlemanly music--the sound of aging gracefully.
    • 56 Metascore
    • 62 Critic Score
    Many of the songs indistinguishably work together to guard from it, making the album as a whole feel like one long, subdued tranquilized state.
    • 74 Metascore
    • 80 Critic Score
    As a whole, Eagulls is a refreshing, unrestrained album, a cool drink of insta-nostalgia for the best of the late ’80s, early ’90s rejecters of the mold.
    • 71 Metascore
    • 78 Critic Score
    Electric Balloon is top-heavy, however, and the back half of the record drifts out of focus due to some grooves that—rather than sparkle--simply repeat.
    • 73 Metascore
    • 76 Critic Score
    The Men have always had the chops to hang, but it’s their emerging maturity that has begun to justify the bravado of the name.
    • 73 Metascore
    • 74 Critic Score
    Lyrics form twisted stories as each song becomes more mysterious and sultry than the next, making Holly a fitting soundtrack for creeping the streets at night.
    • 78 Metascore
    • 80 Critic Score
    Atlas, the ever-weighty third album, finds this cohesive crew, past and present now in lockstep, considering how best to turn their internal dialogue outward and beyond.
    • 87 Metascore
    • 74 Critic Score
    The collection has aged remarkably well.
    • 63 Metascore
    • 68 Critic Score
    After the jarring synthetic combo of “Rope Burn” and “Eggs At Night,” Hubba Bubba hits its stride with tracks like “Sic Bay Surprise” and “Photograph,” which contain flashes of Dwyer’s high-pitched breathy signature vocals and a few bars of guitar shredding in between the machine blips.
    • 64 Metascore
    • 72 Critic Score
    His intimate voice strikes enough of a balance with the chilly electronics to keep the core of this winter release at room temperature.
    • 89 Metascore
    • 84 Critic Score
    St. Vincent is buoyant in the way that the Hindenburg was—it floats along steadily and excitedly, but with a decisive coldness that suggests that something unexpected might happen.
    • 81 Metascore
    • 84 Critic Score
    Beck produced Morning Phase himself, and while that makes for a cohesive listen, consulting with another trusted producer could have coaxed out some of the freewheeling unpredictability that once characterized his music.
    • 86 Metascore
    • 78 Critic Score
    Not everything on Present Tense is a success, but the highs are truly high, even when they’re sad.
    • 84 Metascore
    • 78 Critic Score
    Within the 11 tracks that make up her third full-length, Olsen’s strong and matchless voice pierces through fuzzed out guitars and massive organ riffs, allowing us to burrow into her mind.
    • 76 Metascore
    • 74 Critic Score
    While Berglund still seems intent on taking a sideways swipe at pop culture, his sophomore album Wonderland is full of elegant contradictions, bridging the gap between bratty and Balearic.
    • 71 Metascore
    • 66 Critic Score
    The result is Past Life, a chilling, straightforward album that is more concerned with soulful riffs, pulsing bass lines and soaring vocal melodies than grandiose, classical-inflected anthems.
    • 82 Metascore
    • 80 Critic Score
    Mirroring the lack of linearity in Lanegan’s career is the contrarian approach to this collection.
    • 74 Metascore
    • 60 Critic Score
    Out-and-out rockers “A Mirror” and “Tired & Buttered” provide some much-needed lucidity, but as a whole, Held in Splendor may be a bit too tranquil for its own good.
    • 72 Metascore
    • 76 Critic Score
    Producer Jacquire King (Tom Waits, Kings of Leon, Norah Jones) gives each song a poppy slant even when the lyrical content wrestles with the jetsam of life.
    • 78 Metascore
    • 76 Critic Score
    There are wonderfully soft moments, too, the vocal counterpoints of “Little Ones Run” are delightful, but ultimately the collective exists for noise, which is demonstrated beautifully and impressively.