Every scale a release can be scored on, in three families, each with the records at either end of it — from the scored set, at what the community has each record at. Follow a scale's name for what it asks in full and every record placed on it. Non-prog records the set carries to mark the bottom of a scale are left out here; the chart will show them alongside the rest if you ask it to.
Composition
What was written: how the pieces are built, how far the harmony and the metres go from the ordinary, and whether the release is one work.
How intricate the writing is: how many distinct sections, how densely they change, how many independent lines run at once, and whether themes are developed and returned to. Metre is its own scale (Metric Adventurousness) and size is another (Formal Scale), so this is intricacy on its own. Judge the finished record, not how it was made - an improvisation can score high. Around 20 for Mr. Bungle's Raging Wrath, 90 for Univers Zero's Hérésie, 95 for Close to the Edge.
Complex
- Änglagård – Hybris: Structural Complexity: Extremely Complex, 90%
- Captain Beefheart – Trout Mask Replica: Structural Complexity: Extremely Complex, 90%
- Gentle Giant – Octopus: Structural Complexity: Extremely Complex, 90%
Simple
- Hawkwind – Space Ritual: Structural Complexity: Slightly Complex, 15%
- Klaus Schulze – Timewind: Structural Complexity: Slightly Complex, 15%
- Neu! – NEU!: Structural Complexity: Slightly Complex, 15%
Whether the pieces outgrow the song. Everything is a three-minute song at the bottom; side-long suites, named movements and material recalled across a whole side at the top. This is size, not intricacy - that is Structural Complexity. Around 15 for Swordfishtrombones and 20 for Raging Wrath, 95 for Close to the Edge, 100 for Thick as a Brick.
Expansive
- Gazpacho – Night: Formal Scale: Extremely Expansive, 100%
- Godspeed You! Black Emperor – Lift Your Skinny Fists Like Antennas to Heaven: Formal Scale: Extremely Expansive, 100%
- Jethro Tull – Thick as a Brick: Formal Scale: Extremely Expansive, 100%
Song-scale
- John Zorn – Naked City: Formal Scale: Song-scale, 10%
- Cluster – Zuckerzeit: Formal Scale: Slightly Expansive, 15%
- Brian Eno – Another Green World: Formal Scale: Slightly Expansive, 20%
Is the release one work about something, or a collection of songs? Separate unrelated songs at the bottom; a sustained subject carried across the whole record - a narrative, an argument, a world - at the top. Usually the words carry it, but not only: Phaedra and Red Queen to Gryphon Three have none. This is not the size of the pieces, which is Formal Scale. Around 5 for Cosmo's Factory, 95 for Dark Side of the Moon, 100 for Thick as a Brick and Operation: Mindcrime.
Unified
- Aphrodite's Child – 666: Conceptual Unity: Extremely Unified, 100%
- Ayreon – The Human Equation: Conceptual Unity: Extremely Unified, 100%
- Genesis – The Lamb Lies Down on Broadway: Conceptual Unity: Extremely Unified, 100%
Separate Songs
- Frank Zappa – Hot Rats: Conceptual Unity: Separate Songs, 5%
- Don Caballero – American Don: Conceptual Unity: Separate Songs, 10%
- Mattias IA Eklundh – Freak Guitar: Conceptual Unity: Separate Songs, 10%
Repetition vs Developmenttwo opposites — Cyclical at 0, Developmental at 100
Cyclical, with material recurring, at the bottom; developmental, with material constantly replaced, at the top; the middle is neither. Around 15 for Tago Mago, Magma and minimal krautrock, 85 for Close to the Edge and Western Culture.
Cyclical
- Harmonia – Musik Von: Repetition vs Development: Very Cyclical, 80%
- Hawkwind – Space Ritual: Repetition vs Development: Very Cyclical, 80%
- Neu! – NEU!: Repetition vs Development: Very Cyclical, 80%
Developmental
- Fantômas – Fantômas: Repetition vs Development: Very Developmental, 90%
- Henry Cow – Western Culture: Repetition vs Development: Developmental, 70%
- Thinking Plague – In This Life: Repetition vs Development: Developmental, 70%
How much memorable, singable melodic material there is. Independent of complexity in both directions - complex music can be very melodic and simple music need not be - and independent of whether the tunes are hooks or long instrumental arcs, which Formal Scale and Repetition vs Development carry between them. Around 15 for Hérésie and Western Culture, 85 for Camel, Marillion and Images and Words.
Melodic
- The Beatles – Sgt. Pepper's Lonely Hearts Club Band: Melodicism: Extremely Melodic, 95%
- Camel – The Snow Goose: Melodicism: Extremely Melodic, 90%
- Kansas – Leftoverture: Melodicism: Extremely Melodic, 90%
Unmelodic
- Gorguts – Obscura: Melodicism: Unmelodic, 5%
- Deathspell Omega – Fas - Ite, Maledicti, In Ignem Aeternum: Melodicism: Unmelodic, 10%
- Meshuggah – I: Melodicism: Unmelodic, 10%
How far the harmonic language goes from plain diatonic writing: three chords at the bottom, modal writing, chromaticism and extended chords in the middle, dissonant and modernist at the top. This is the language itself, not the ambition behind it. Around 25 for Camel and Marillion, 90 for Henry Cow's Western Culture, 95 for Hérésie.
Adventurous
- Deathspell Omega – Fas - Ite, Maledicti, In Ignem Aeternum: Harmonic Adventurousness: Extremely Adventurous, 95%
- Gorguts – Obscura: Harmonic Adventurousness: Extremely Adventurous, 95%
- Imperial Triumphant – Alphaville: Harmonic Adventurousness: Extremely Adventurous, 95%
Diatonic
- Neu! – NEU!: Harmonic Adventurousness: Slightly Adventurous, 20%
- The Moody Blues – Days Of Future Passed: Harmonic Adventurousness: Slightly Adventurous, 20%
- Camel – Moonmadness: Harmonic Adventurousness: Slightly Adventurous, 25%
Are the metres the usual ones? Four-four throughout and unvarying at the bottom; odd and shifting time signatures, polyrhythm and metric modulation as ongoing material rather than as an effect at the top. The counterpart of Harmonic Adventurousness: both ask how far the record goes from the default, one in pitch and one in time. Around 0 for AC/DC, Adele and Neu!, 70 for Close to the Edge, 85 for Octopus, 95 for Ruins and Meshuggah.
Adventurous
- Captain Beefheart – Trout Mask Replica: Metric Adventurousness: Extremely Adventurous, 95%
- Meshuggah – I: Metric Adventurousness: Extremely Adventurous, 95%
- Meshuggah – ObZen: Metric Adventurousness: Extremely Adventurous, 95%
Straight Time
- Harmonia – Musik Von: Metric Adventurousness: Straight Time, 0%
- Neu! – NEU!: Metric Adventurousness: Straight Time, 0%
- Cluster – Zuckerzeit: Metric Adventurousness: Straight Time, 5%
Whether the notes are the usual twelve. Standard equal temperament throughout at the bottom; the tuning system itself part of the material at the top - microtonality, just intonation, non-Western scales and their inflections, retuned instruments, deliberate detuning. Most records answer low and that is correct. Around 5 for neo-prog and prog metal, 55 for Birds of Fire, 85 for Shakti.
Untempered
- King Gizzard & The Lizard Wizard – Flying Microtonal Banana: Tuning Freedom: Extremely Untempered, 95%
- Shakti With John McLaughlin – Shakti with John McLaughlin: Tuning Freedom: Very Untempered, 85%
- Area – Arbeit Macht Frei: Tuning Freedom: Markedly Untempered, 70%
Equal-tempered
- Ange – Au-delà Du Délire: Tuning Freedom: Equal-tempered, 5%
- Ayreon – The Human Equation: Tuning Freedom: Equal-tempered, 5%
- Big Big Train – English Electric Part One: Tuning Freedom: Equal-tempered, 5%
Performance and Sound
How it was played and how it was made: the playing, the force and the range of it, what it is played on and how it was recorded.
How hard this is to play and how much the playing is on display, independent of what is being played. The bottom of the scale is real, not a courtesy: around 20 for Morning Glory and NEU!, where nothing is played beyond what the song needs, 35 for Mr. Bungle's debut, 90 for Images and Words, 98 for Passion and Warfare.
Virtuosic
- Yngwie J. Malmsteen – Rising Force: Virtuosity: Extremely Virtuosic, 100%
- Animals As Leaders – Animals As Leaders: Virtuosity: Extremely Virtuosic, 98%
- Mahavishnu Orchestra – Birds Of Fire: Virtuosity: Extremely Virtuosic, 98%
Unshowy
- Cluster – Zuckerzeit: Virtuosity: Slightly Virtuosic, 25%
- Neu! – NEU!: Virtuosity: Slightly Virtuosic, 25%
- Autechre – Tri Repetae: Virtuosity: Somewhat Virtuosic, 30%
How much of the music was found in the room rather than written. Fully composed, or solos over fixed changes, at the bottom; collective improvisation with no form underneath at the top. Not the same as Looseness, which is how the playing feels: Neu! sounds loose and is barely improvised, In the Court of the Crimson King is tight and has a long free section. Around 5 for Marillion and Pendragon, 80 for Spirit of Eden, 90 for Yeti.
Improvised
- Miles Davis – Bitches Brew: Improvisation: Extremely Improvised, 95%
- Amon Düül II – Yeti: Improvisation: Extremely Improvised, 90%
- Ash Ra Tempel – Ash Ra Tempel: Improvisation: Extremely Improvised, 90%
Composed
- Dream Theater – Images and Words: Improvisation: Composed, 0%
- Dream Theater – Awake: Improvisation: Composed, 0%
- Dream Theater – Metropolis Pt. 2: Scenes from a Memory: Improvisation: Composed, 0%
Loosenesstwo opposites — Tight at 0, Loose at 100
Tight, rehearsed and precise at the bottom; loose and jam-like at the top; the middle is neither. Around 20 for Gentle Giant, Dream Theater and Univers Zero, 85 for live Soft Machine and motorik krautrock.
Tight
- Animals As Leaders – Animals As Leaders: Looseness: Very Tight, 90%
- Meshuggah – I: Looseness: Very Tight, 90%
- Meshuggah – ObZen: Looseness: Very Tight, 90%
Loose
- Guru Guru – UFO: Looseness: Very Loose, 90%
- Ash Ra Tempel – Ash Ra Tempel: Looseness: Very Loose, 80%
- Miles Davis – Bitches Brew: Looseness: Very Loose, 80%
Rhythmic propulsion and physicality, against static or metrically abstract. Around 20 for ELP and Univers Zero, 85 for Soft Machine, Hot Rats, motorik krautrock and funk-metal-era Mr. Bungle.
Groovy
- Talking Heads – Remain in Light: Groove: Extremely Groovy, 95%
- Battles – Mirrored: Groove: Extremely Groovy, 90%
- Boredoms – Super æ: Groove: Very Groovy, 85%
Static
- Popol Vuh – Hosianna Mantra: Groove: Static, 10%
- Art Zoyd – Symphonie pour le jour où brûleront les cités: Groove: Slightly Groovy, 15%
- Kayo Dot – Choirs Of The Eye: Groove: Slightly Groovy, 15%
Heaviness, aggression, dynamic force - the peak of it, not the range. The range is Dynamic Contrast. Around 25 for Camel and Hot Rats, 85 for King Crimson's Red and BTBAM's Colors.
Intense
- Meshuggah – I: Intensity: Extremely Intense, 98%
- Meshuggah – ObZen: Intensity: Extremely Intense, 98%
- The Dillinger Escape Plan – Calculating Infinity: Intensity: Extremely Intense, 98%
Gentle
- Popol Vuh – Hosianna Mantra: Intensity: Gentle, 10%
- Kraftwerk – Autobahn: Intensity: Slightly Intense, 15%
- The Pentangle – Basket Of Light: Intensity: Slightly Intense, 15%
How harsh the sound itself is: distortion used as texture rather than as a guitar tone, noise, feedback, scraped and struck metal, clipping, a screamed or growled voice heard as a sound. Every sound clean or smooth at the bottom; harshness as the material at the top. Not force, which is Intensity, and not how the record was recorded, which is Production Polish: a heavy record can be clean and a raw one smooth. Around 5 for Rumours and Adele's 21, 30 for Back In Black, 45 for Metallica, 70 for ObZen, 90 for Obscura and ½ Mensch.
Abrasive
- Gorguts – Obscura: Abrasiveness: Extremely Abrasive, 90%
- Deathspell Omega – Fas - Ite, Maledicti, In Ignem Aeternum: Abrasiveness: Very Abrasive, 85%
- Imperial Triumphant – Alphaville: Abrasiveness: Very Abrasive, 85%
Clean
- Popol Vuh – Hosianna Mantra: Abrasiveness: Clean, 0%
- Big Big Train – English Electric Part One: Abrasiveness: Clean, 5%
- Camel – The Snow Goose: Abrasiveness: Clean, 5%
How far the release moves between quiet and loud, sparse and dense, within itself. This is the range where Intensity is the peak. Around 15 for Raging Wrath and drone krautrock, 85 for Blackwater Park, Wish You Were Here and Larks' Tongues in Aspic.
Dynamic
- Godspeed You! Black Emperor – Lift Your Skinny Fists Like Antennas to Heaven: Dynamic Contrast: Extremely Dynamic, 95%
- Kayo Dot – Choirs Of The Eye: Dynamic Contrast: Extremely Dynamic, 95%
- Maudlin of the Well – Bath: Dynamic Contrast: Extremely Dynamic, 95%
Uniform
- Tangerine Dream – Phaedra: Dynamic Contrast: Slightly Dynamic, 15%
- Meshuggah – ObZen: Dynamic Contrast: Slightly Dynamic, 20%
- Cluster – Zuckerzeit: Dynamic Contrast: Slightly Dynamic, 25%
Densitytwo opposites — Sparse at 0, Dense at 100
How much sounds at once. A few things with air between them at the bottom; everything at once at the top; the middle is neither. Not the size of the palette, which is Instrumental Breadth - a record can be narrow and dense or broad and sparse - and not the range, which is Dynamic Contrast. Around 15 for Timewind and Spirit of Eden, 35 for Rock Bottom, 65 for Close to the Edge, 85 for Colors, 95 for Ascension and Deconstruction.
Sparse
- Klaus Schulze – Timewind: Density: Sparse, 70%
- Talk Talk – Spirit Of Eden: Density: Sparse, 60%
- Popol Vuh – Hosianna Mantra: Density: Sparse, 50%
Dense
- Devin Townsend Project – Deconstruction: Density: Very Dense, 90%
- King Crimson – In the Court of the Crimson King: Density: Very Dense, 80%
- Between The Buried And Me – Colors: Density: Dense, 70%
How wide a range of instrumental colour the record draws on. One rock band's standard kit at the bottom; keyboards of several kinds, winds, strings, percussion beyond the kit and voices used as instruments at the top. Breadth, not strangeness - one unusual instrument played on its own is a narrow palette, and where the sound sits between acoustic and electronic is Timbral Palette. Around 5 for Back In Black and 20 for Metallica, 90 for Days of Future Passed, 95 for Red Queen to Gryphon Three and Disco Volante.
Broad
- Gentle Giant – Octopus: Instrumental Breadth: Extremely Broad, 95%
- Gryphon – Red Queen to Gryphon Three: Instrumental Breadth: Extremely Broad, 95%
- Mr. Bungle – Disco Volante: Instrumental Breadth: Extremely Broad, 95%
Narrow
- Meshuggah – I: Instrumental Breadth: Slightly Broad, 20%
- Gorguts – Obscura: Instrumental Breadth: Slightly Broad, 25%
- Meshuggah – ObZen: Instrumental Breadth: Slightly Broad, 25%
Timbral Palettetwo opposites — Acoustic at 0, Electronic at 100
Acoustic or amplified acoustic at the bottom; synthetic, processed and electronic at the top; the middle is neither. Around 15 for Univers Zero and prog folk, 85 for Signals, Tangerine Dream and neo-prog.
Acoustic
- Comus – First Utterance: Timbral Palette: Very Acoustic, 90%
- Popol Vuh – Hosianna Mantra: Timbral Palette: Very Acoustic, 90%
- Shakti With John McLaughlin – Shakti with John McLaughlin: Timbral Palette: Very Acoustic, 90%
Electronic
- Autechre – Tri Repetae: Timbral Palette: Very Electronic, 96%
- Klaus Schulze – Timewind: Timbral Palette: Very Electronic, 96%
- Kraftwerk – Autobahn: Timbral Palette: Very Electronic, 96%
Production Polishtwo opposites — Raw at 0, Polished at 100
Raw, lo-fi and live-sounding at the bottom; slick, layered and hi-fi at the top; the middle is neither. This is how the record sounds, not how good it is. Around 20 for Flex-Able, Faust and the Mr. Bungle debut, 90 for Images and Words, In Absentia and Passion and Warfare.
Raw
- Captain Beefheart – Trout Mask Replica: Production Polish: Raw, 70%
- Hawkwind – Space Ritual: Production Polish: Raw, 70%
- Faust – Faust: Production Polish: Raw, 60%
Polished
- Leprous – Malina: Production Polish: Very Polished, 90%
- Steven Wilson – Hand. Cannot. Erase.: Production Polish: Very Polished, 90%
- Animals As Leaders – Animals As Leaders: Production Polish: Very Polished, 80%
Unusual process - studio manipulation, collage, tape, sound sources that are not instruments, recording done in a way nobody else records. Around 25 for Images and Words, 90 for Uncle Meat and Disco Volante, 95 for Tago Mago.
Novel
- Can – Tago Mago: Methodological Novelty: Extremely Novel, 95%
- Faust – Faust: Methodological Novelty: Extremely Novel, 95%
- Silver Apples – Silver Apples: Methodological Novelty: Extremely Novel, 95%
Conventional
- Fates Warning – Awaken the Guardian: Methodological Novelty: Conventional, 10%
- Pendragon – The Masquerade Overture: Methodological Novelty: Conventional, 10%
- Watchtower – Control and Resistance: Methodological Novelty: Conventional, 10%
Character and Range
What the record comes across as, and how much ground it covers.
Emotional Tonetwo opposites — Bright at 0, Dark at 100
Warm, bright and pastoral at the bottom; dark and bleak at the top; the middle is neither. Darkness is a mood and not a weight: a quiet record can be as dark as a heavy one and a heavy record can be bright, so answer this without looking at Intensity. Around 25 for Yes and Camel, 80 for Hérésie, Red and Opeth - and Tilt sits at 98 and Passion and Warfare at 30 with much the same force behind each.
Bright
- Yes – Close to the Edge: Emotional Tone: Very Bright, 80%
- Caravan – In The Land Of Grey And Pink: Emotional Tone: Bright, 70%
- Gryphon – Red Queen to Gryphon Three: Emotional Tone: Bright, 70%
Dark
- Deathspell Omega – Fas - Ite, Maledicti, In Ignem Aeternum: Emotional Tone: Very Dark, 96%
- Gorguts – Obscura: Emotional Tone: Very Dark, 90%
- Imperial Triumphant – Alphaville: Emotional Tone: Very Dark, 90%
Atmospheric Immersiontwo opposites — Eventful at 0, Immersive at 100
Event-led at the bottom - riffs, sections, things happening - and immersive at the top, where the appeal is texture, space, mood and production; the middle is neither. The Pink Floyd axis. Around 20 for Gentle Giant and Watchtower, 75 for In Absentia, 90 for Wish You Were Here.
Eventful
- Watchtower – Control and Resistance: Atmospheric Immersion: Very Eventful, 90%
- John Zorn – Naked City: Atmospheric Immersion: Very Eventful, 80%
- Spastic Ink – Ink Complete: Atmospheric Immersion: Very Eventful, 80%
Immersive
- Gazpacho – Night: Atmospheric Immersion: Very Immersive, 90%
- Godspeed You! Black Emperor – Lift Your Skinny Fists Like Antennas to Heaven: Atmospheric Immersion: Very Immersive, 90%
- Klaus Schulze – Timewind: Atmospheric Immersion: Very Immersive, 90%
Vocal Centralitytwo opposites — Instrumental at 0, Vocal at 100
How much of the record the voice is. Instrumental at the bottom - no voice, or a voice used as one instrument among the others - and vocal-led at the top, where the record is the singer and the rest accompanies; the middle shares it between them. What kind of voice it is belongs to the vocals tags; this asks only how central it is. Around 0 for Birds of Fire and Phaedra, 30 for Red, 55 for Close to the Edge, 75 for The Lamb, 90 for Thriller, 95 for Adele's 21.
Instrumental
- Animals As Leaders – Animals As Leaders: Vocal Centrality: Very Instrumental, 100%
- Autechre – Tri Repetae: Vocal Centrality: Very Instrumental, 100%
- Camel – The Snow Goose: Vocal Centrality: Very Instrumental, 100%
Vocal
- Kate Bush – The Dreaming: Vocal Centrality: Vocal, 70%
- Ayreon – The Human Equation: Vocal Centrality: Vocal, 60%
- Kevin Gilbert – The Shaming of the True: Vocal Centrality: Vocal, 60%
Comedy, absurdity and playfulness actually present in the music. A record can be funny and serious at once, so this asks only how much comedy is there, never how sincere the record is. Around 0 for Univers Zero and Present, 80 and above for Zappa, Samla Mammas Manna and Mr. Bungle.
Humorous
- Mattias IA Eklundh – Freak Guitar: Humour: Extremely Humorous, 90%
- Captain Beefheart – Trout Mask Replica: Humour: Very Humorous, 85%
- Mr. Bungle – Mr. Bungle: Humour: Very Humorous, 85%
Straight-faced
- Anekdoten – Vemod: Humour: Straight-faced, 0%
- Änglagård – Hybris: Humour: Straight-faced, 0%
- Art Zoyd – Symphonie pour le jour où brûleront les cités: Humour: Straight-faced, 0%
How performed and character-driven the delivery is, against direct expression. It asks nothing about sincerity. Around 15 for instrumental fusion and most krautrock, 85 for The Lamb, Magma, Operation: Mindcrime and Art Bears' Hopes and Fears.
Theatrical
- Arcturus – La Masquerade Infernale: Theatricality: Extremely Theatrical, 95%
- Devin Townsend Project – Deconstruction: Theatricality: Extremely Theatrical, 95%
- Sleepytime Gorilla Museum – Of Natural History: Theatricality: Extremely Theatrical, 95%
Direct
- Animals As Leaders – Animals As Leaders: Theatricality: Direct, 5%
- Autechre – Tri Repetae: Theatricality: Direct, 5%
- Don Caballero – American Don: Theatricality: Direct, 5%
How much stylistic ground one release covers, and how jarring against integrated the shifts are. Not the same as being extreme: Hérésie is around 15, extremely avant-garde and not eclectic at all, while Colors and Disco Volante are around 90.
Eclectic
- John Zorn – Naked City: Eclecticism: Extremely Eclectic, 100%
- Igorrr – Savage Sinusoid: Eclecticism: Extremely Eclectic, 95%
- Sigh – Imaginary Sonicscape: Eclecticism: Extremely Eclectic, 95%
Focused
- Klaus Schulze – Timewind: Eclecticism: Focused, 5%
- Meshuggah – ObZen: Eclecticism: Focused, 10%
- Popol Vuh – Hosianna Mantra: Eclecticism: Focused, 10%
How far outside its own idiom the writing reaches for material. One idiom played as itself at the bottom; classical, jazz, folk or non-Western vocabularies structurally fused rather than quoted at the top. This is the material where Eclecticism is the result - a record can fuse one outside idiom deeply and sound anything but eclectic. Around 15 for Marillion, 90 for Red Queen to Gryphon Three, 95 for Shakti.
Hybrid
- John Zorn – Naked City: Idiom Synthesis: Extremely Hybrid, 95%
- Shakti With John McLaughlin – Shakti with John McLaughlin: Idiom Synthesis: Extremely Hybrid, 95%
- Gryphon – Red Queen to Gryphon Three: Idiom Synthesis: Extremely Hybrid, 90%
In-idiom
- IQ – The Wake: Idiom Synthesis: Slightly Hybrid, 15%
- IQ – Subterranea: Idiom Synthesis: Slightly Hybrid, 15%
- Marillion – Script for a Jester's Tear: Idiom Synthesis: Slightly Hybrid, 15%
These numbers are the community's, and the community is still small
Every value here is what the membership has the record at: the same trust-weighted blend of every member's placement that the record's own page shows, on the twenty-seven scales and the three criteria alike. Nothing here reads one member's rows. Which records are on the map is a judgement in two parts: SiteCurator and Mike mark a record at full relevance, and the membership must hold it at 60 or more on one of the three criteria, so getting a record onto this page is those two accounts' call, and keeping it here is everyone's. The non-prog records are the exception: they mark the bottom of a scale, so the second test would rule them out.
Today that blend is thin. Of the 270 records here, 34 have more than one member behind them, and the rest stand on a single assessment. Most came from one automated pass by a machine account, which makes the rows comparable but is also the whole of their authority. Nobody has checked that pass.
The three criteria marked beside each release are shaky too: around half of their values were never typed by anybody, since assigning a genre that implies a criterion writes it onto your rows. So a tick is not reliably anyone's opinion.
Only members can fix both. Open a record you know well (the scored set is a good start) and score it under Coordinates in its editor. You need not answer all twenty-seven scales; the ones you are sure of beat a complete guess. Answer the three criteria directly rather than leaving a genre to do it. Your values move these pages too, so a second and third assessor are all it takes for a scale to become the site's reading.