Critics give A Joyful Noise a B-Side Breakdown of 58 (F), from 10 reviews at outlets we track. Scores run 30 to 81.
The verdict on A Joyful Noise
Critics split on this one: scores run from 30 (NME) to 81 (Entertainment Weekly).
- Highest 81 Entertainment Weekly
- Lowest 30 NME
- Career #4 of Gossip's 4 albums with a Breakdown
- By the numbers Gossip's best-reviewed album here since Music for Men (2009).
| The gist | ||||
|---|---|---|---|---|
| Entertainment Weekly via Wikipediaby Adam Markovitz | B- | 81 | 2012 | |
| The Independent via Wikipediaby Andy Gill | 4/5 | 80 | 2012 | “A new noise shows Ditto's moving in the right direction” |
| AllMusic via Wikipediaby Heather Phares | 3.5/5 | 70 | ||
| The Guardian via Wikipediaby Caroline Sullivan | 3/5 | 60 | 2012 | “Gossip have roped in one of pop's biggest production names for their new album, and it suits them well enough, writes Caroline Sullivan” |
| Clash via Wikipediaby Nick Levine | 6/10 | 60 | 2012 | “Beth Dditto is unequivocally a good thing: marvellous vocalist, magnificent onstage, an absolute mensch. If only, it’s hard not to think, Gossip were just a little bit better.” |
| Pitchfork via Wikipediaby Andrew Ryce | 5.9/10 | 59 | 2012 | “Following 2009's Rick Rubin-produced Music for Men, the Portland trio's fifth album was handled by UK pop mastermind Xenomania, perhaps best known for helming Sugababes and Girls Aloud's clever post-millennial…” |
| PopMatters via Wikipediaby Justin Cober-Lake | 5/10 | 50 | 2012 | “When Gossip (then with a “the” in its name) started on K Records at the end of the '90s and then Kill Rock Stars, it was a lo-fi garage act.…” |
| Slant via Wikipediaby Eric Henderson | 2.5/5 | 50 | 2012 | “C’mon, punks. Gimme, gimme, gimme…a moan after midnight.” |
| Drowned in Sound via Wikipedia | 4/10 | 40 | 2012 | “For all Gossip's heartfelt politicking, Higgin's pop-lite makeover only accentuates the hollowness that's always plagued their songs.” |
| NME via Wikipediaby Rebecca Schiller | 3/10 | 30 | 2012 |
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How the Breakdown works
Every outlet’s score is converted to 0–100 (2/5 is 40, 5.9/10 is 59, a B+ is 88) and averaged. Grades follow the B-Side scale: A is 90–100, B 80–89, C 70–79, D 60–69, F below 60. Approval is the share of critics who scored it 75 or higher; the Breakdown shows green at 75 and up, red below. Divisiveness asks a different question: not how many critics liked it, but how close their scores are to each other. Five critics who all give it 50 are Unanimous, even though none of them liked it. The labels run Unanimous, Broad agreement, Some debate, Divided, and Contentious. Replay rate comes from listeners, not critics: yes counts fully, a few tracks counts half, no counts zero. The gist quotes each outlet’s own summary of its review. Published is the date on the review itself, read from the outlet’s page, so you can see whether an album’s reputation came at release or years later. Scores marked est. come from reviews that publish no number. Scores marked via Wikipedia are archive ratings, mostly for older albums, taken from the “Professional ratings” box on the album’s Wikipedia page (published openly through Wikidata); each links to the original review when we can find it online, and to that Wikipedia entry when we can’t. When an outlet reviewed an album twice, years apart (often for a reissue), both scores count, each labeled with its year.
A-Side marks the critics’ top tier. An album earns it automatically, from its numbers alone: a Breakdown of 90 or higher, from at least 5 reviews, with at least 75% approval. Nobody hands it out and nobody can buy it; if new reviews pull an album below the line, it loses the badge.







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