Spin Cycle's Scores

  • Music
For 99 reviews, this publication has graded:
  • 51% higher than the average critic
  • 1% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 2 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 Motherland
Lowest review score: 25 Song Yet To Be Sung
Score distribution:
  1. Positive: 71 out of 99
  2. Negative: 5 out of 99
99 music reviews
    • 63 Metascore
    • 63 Critic Score
    Clever rhythms, tricky harmonies and diverse musical reference points -- including the opening riff from Stevie Nicks' "Edge of Seventeen" -- frequently distract from the lyrical shortcomings.
    • 66 Metascore
    • 63 Critic Score
    A sweet and sometimes bitter pack of world-weary bubblegum pop.
    • 81 Metascore
    • 63 Critic Score
    Ultimately, the record is kept from wonderfulness by too much drowsy material--it lacks [Neil] Young's screwball conviction or the hallucinogenic intensity of the VU.
    • 56 Metascore
    • 63 Critic Score
    There's nothing on this album quite like the guilty pleasure of "Candy," her textbook pop number from "So Real."
    • 65 Metascore
    • 63 Critic Score
    The electronics are intact, but rather than rely on monitors and keyboards to produce familiar sounds, Depeche Mode lifts its chin and puts vocals first for some surprisingly taut techno-balladry.... Still, old habits are hard to break, and "Exciter" carries a couple of ill-advised indulgences.
    • 72 Metascore
    • 63 Critic Score
    The band, while heavy on charm, is light in its ability to demonstrate any diversity in its songs.
    • 70 Metascore
    • 63 Critic Score
    Just as little has changed on the radio front, so has Cake stuck with its market-proven formula on "Comfort Eagle."
    • 63 Metascore
    • 63 Critic Score
    The album may not break much new ground, but the band's performance is more dynamic than on previous releases.
    • 73 Metascore
    • 63 Critic Score
    Having traded in affected spooky vocals and idiosyncratic song structures for straight-ahead rock, however, Black seems to suffer a crisis of confidence on "Dog in the Sand."
    • 65 Metascore
    • 63 Critic Score
    X.O. Experience is more commercial and polished than the group's previous three efforts.
    • 73 Metascore
    • 63 Critic Score
    Something of a mixed bag, "Production" teeters between grating aimlessness and uniquely dark, claustrophobically compressed runs through the Vocoder-happy lands of French house music.
    • 82 Metascore
    • 60 Critic Score
    A 12-song collection of ear candy so sweet as to give many listeners a toothache.
    • 58 Metascore
    • 60 Critic Score
    Lee has produced a competent, contemplative record that should tide fans over until the power trio's long-awaited return to local arenas.
    • 80 Metascore
    • 60 Critic Score
    The results on "Solitary Man" are mixed, leaning at times to inadvertent novelty.
    • 72 Metascore
    • 60 Critic Score
    Following a path forged by fellow U.K. exports Badly Drawn Boy and Travis, still-wet-behind-the-ears quartet Coldplay prefers a folksy, familiar approach to guitar pop.
    • 69 Metascore
    • 60 Critic Score
    There are hints of the stuttered hooks that snared listeners on the band's '95 debut, yet they're so snarled in manic sound, you're unsure whether you're being grabbed or gagged.
    • 80 Metascore
    • 60 Critic Score
    The band nearly succeeds in messing with your head. However, front man Courtney Taylor's hamming like Jagger on "Bohemian Like You" and the country schlock of "Country Leaver" are definite buzzkills.
    • 72 Metascore
    • 60 Critic Score
    You're going to have to dig through a barrage of radio-ready songs to find the excitement of previous albums.
    • 60 Metascore
    • 60 Critic Score
    It's that menacing air surrounding "Familiar" that makes it worth a listen, and Oasis is, quite simply, loads of rock and roll fun.
    • 64 Metascore
    • 60 Critic Score
    He's ditched dusty folk LPs for guest appearances by stars such as Bootsy Collins and Macy Gray. Gentrification suits him. For all her classic-soul flare, Gray is fond of abrasive nuance. Her singing is the perfect analog counterpart to his techno-philia; those saliva-laden glitches turn her catch phrases into perfect little samples.
    • 68 Metascore
    • 60 Critic Score
    On its fourth full-length adventure, Glaswegian septet Belle & Sebastian wanders away from their painfully catchy melodies with symphonic '70s-esque feather rock.
    • 69 Metascore
    • 50 Critic Score
    This time around, the Garbage tradition of borrowing from all over the map has produced unfocused and derivative results.
    • 45 Metascore
    • 50 Critic Score
    "Forever" is about as glossy as it gets. It's also understandably predictable.
    • 69 Metascore
    • 50 Critic Score
    High on boyish charm and low on moral fiber, Blink's songs have all the lyrical depth of a whoopee cushion.
    • 76 Metascore
    • 50 Critic Score
    The music is rarely up to the task set by the lyrics. Truly successful union of melody and words occurs only twice—on the sparsely arranged stream of consciousness titled "Bonefields" and on the album's most original piece, "Another Plane Went Down," which teeters beautifully on the edge of dream and reality.
    • 51 Metascore
    • 50 Critic Score
    Halfway through the album, Michael ruins the good mood with a seemingly endless run of soggy, would-be anthems and self-pitying celebrity complaints.
    • 71 Metascore
    • 50 Critic Score
    Neither Brit-pop nor hip-hop, "Gorillaz" contains a motley, dub-influenced collection of songs that are, like Hewlett's drawings, an exercise in sophisticated immaturity
    • 75 Metascore
    • 50 Critic Score
    The admittedly catchy, three-chord pop structure isn't as effective as in previous DCFC releases--as a basic approach, it seems more thoughtless than deliberately anaesthetizing this time.
    • 72 Metascore
    • 50 Critic Score
    Manson still has the most bloodcurdling scream in rock. But the flat-footed musical backing on "Holy Wood" leaves his delivery sounding strained, like an overburdened star left naked on an empty stage.
    • 71 Metascore
    • 50 Critic Score
    It’s way too often here that everything new and interesting about two-step gets brushed aside for suspiciously lite jazz and limp mixes of dancefloor hits.