Universal acclaim - based on 30 Critics

Critic score distribution:
  1. Positive: 28 out of 30
  2. Negative: 0 out of 30
  1. 100
    All eleven songs on Gimme Fiction are immaculately crafted, concise pop gems.
  2. What sticks out most about Spoon, five albums in, is how singular they sound, like a jut of brilliant rock standing unfazed by crashing tides of trends and hopeful hype.
  3. Strings swoon, falsetto voices sigh, and counterpoint piano lines glide. Yet nothing sounds fussy. [20 May 2005, p.75]
  4. Each song glows with infinitesimal joys, tiny pointillist production flourishes noticeable only under close scrutiny. But in rounding out their sound, they brought the viewer close enough to see the brushstrokes and the smudges.
  5. Free from the trappings of hype this is simply a great album. Rock 'n' roll: just like they used to make.
  6. 90
    A highly original band in its prime. [Jun 2005, p.107]
  7. It's a bewitching formula. [Jun 2005, p.120]
  8. Fiction finds Daniel and Eno exploring the tension between a tight rhythm section and chaotic production techniques (from messy guitar parts to bizarre samples). And that provides an edge to the music that not only makes for an attention-grabbing collection, but also rewards repeated listens.
  9. 90
    It's exactly the record that everyone hoped Spoon would make. [#15, p.98]
  10. Gimme Fiction may not be your favorite Spoon record right now, but give it a few years.
  11. Again raises the standard for thoughtful, well-crafted pop.
  12. 90
    The best since their debut. [#10, p.70]
  13. Review #1: The sound of Gimme Fiction is as ideal a conceptualization of the band as could be imagined. [score=100]; Review #2: "Gimme Fiction" has a sense of mischief and curiosity that renders it more consistently varied and just plain more listenable than "Moonlight". [score=80]
  14. Like Wilco's Yankee Hotel Foxtrot into A Ghost Is Born, Spoon's fifth full-length finds further symbiosis between Britt Daniel's emotional obfuscation and the band's spare, uptown backbeat, then looses drummer Jim Eno to metronome the rest.
  15. Though I can imagine putting this on at year's end and remembering every song with a kind of surprised admiration, I can't imagine doing it any sooner--or any later either.
  16. Spoon continues to build one of the most consistent, and distinctive, bodies of work in indie rock -- the band makes changes and takes chances from album to album, but ends up sounding exactly how Spoon should sound each time.
  17. You know a good sound when you want to take out a second mortgage to buy headphones good enough to appreciate it.
  18. Surely the power of Spoon’s miraculous songwriting skills are enough to keep the listener captivated, but the fact remains that the only surprise the album contains is the apparent lack of innovation.
  19. It torpedoes the often-justifiable notion that Spoon's music feels like it was made with safety in mind, and that its far-and-wide excursions are just that--temporary steps away from a safe, solid path.
  20. Spoon's loosest, most eclectic effort yet.
  21. Nearly every song comes off as unassuming in its rightful place. Each track has a designed role, and for that reason you won’t need to use the skip button.
  22. Even the most direct songs here have a precision craftsmanship rarely heard in something that is still, at heart, a rock album.
  23. There is no "The Way We Get By" on this record, as this is far more an album of interlocking pieces than an album of singles that neither makes a naked grab for the turnstiles nor an uprecedented reach for reinvention. [#9]
  24. 70
    Never less than fresh-sounding and curious. [Jun 2005, p.110]
  25. 70
    This return to murky obscurantism, thankfully, comes with a return to guitar noise. [Jun 2005, p.115]
  26. The overall effect can be vaguely schizo -- many of these tracks seem more like cool fragments than true songs.
  27. 67
    Fiction is less nervous than its predecessors but emotionally knottier. [May 2005, p.103]
  28. Some of [Daniel's] stripped-down material sounds gaunt. [May 2005, p.166]
  29. 50
    A quartet of droney sameness [in the second half] essentially grinds Moonlight's funkiest ingredients into a sluggish, repetitive pulp. [#68, p.111]
User Score

Universal acclaim- based on 107 Ratings

User score distribution:
  1. Positive: 63 out of 68
  2. Negative: 1 out of 68
  1. Sep 29, 2013
    [7.6] The album is beautiful and for the most part captivating (to a certain extent), but there is a LOT of filler in this album. Gimme Fiction is consistent, but often excessively so. The album gets very repetitive and monotonous, but that still doesn't make it boring, unoriginal, or not worth listening to. The dynamic nature of Girls Can Tell, Kill The Moonlight, and even sometimes Ga Ga Ga Ga Ga (that will date this review), does not show at all in this record, which almost makes this album a low point for Spoon. Full Review »
  2. Nov 20, 2012
    This is an exceptional series of tangy, delicious pop jams that don't just satisfy the senses; they smack all of them right in the face. Even if this isn't the most remarkable album ever, it's a sweet stash of boom-slap chillin' rock. Full Review »
  3. j30
    Feb 1, 2012
    Even though Gimme Fiction is one of Spoon's most uneven efforts, it's high points outweigh the lows. Spoon is one of those band that you think "Why didn't I think of that?" Their music so simple and so pop driven you wonder why you haven't heard it before.That's kind of the magic behind it because you haven't heard it and it sticks with you. Full Review »