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
    • 93 Metascore
    • 88 Critic Score
    It doesn't really break any new ground, but that's not the point. This record is about Dylan cutting loose and celebrating the richness of American music.
    • 91 Metascore
    • 88 Critic Score
    Hype for the Strokes is well deserved--it's hard to imagine a more vital American rock band.
    • 90 Metascore
    • 80 Critic Score
    This is a record that will certainly find its way into the clubs and on to "best of" lists as the year goes on.
    • 88 Metascore
    • 88 Critic Score
    The most introspective and slow-tempo collection in Björk's catalog, "Vespertine" proves to be a rousing showcase of her captivating vocal talent.
    • 87 Metascore
    • 75 Critic Score
    As unhurried and sonically majestic a slab as Low has ever produced.
    • 86 Metascore
    • 80 Critic Score
    Some of the best music he's created since his release from prison on drug charges nearly six years ago.
    • 86 Metascore
    • 75 Critic Score
    By delivering pert '60s-esue pop numbers with a twangy drawl, and by playing rockabilly riffs on torchy blues odes, Jack and Meg balance their divergent influences well.
    • 85 Metascore
    • 75 Critic Score
    Spoon is the best British band to come out of Austin, Texas.
    • 84 Metascore
    • 88 Critic Score
    Much of the Painters’ power stems from Kozelek’s arresting voice, which meets its deep, moody match in the band’s exquisite renderings of rootsy gothic grace.
    • 82 Metascore
    • 88 Critic Score
    Part torch song, part Broadway, part cabaret, "Poses" is as theatrical as its animated creator is in performance.
    • 82 Metascore
    • 100 Critic Score
    The music that Bragg and Wilco have wrapped around the exquisite 15 sets of Guthrie lyrics is much more mature, cohesive and layered than its predecessor.
    • 82 Metascore
    • 75 Critic Score
    An accessible, if far from revolutionary, work.
    • 82 Metascore
    • 70 Critic Score
    His loving treatment of these 16 tunes (counting one hidden track) is testament to both the rich legacy of American music and Alvin's own reverence for things past.
    • 82 Metascore
    • 60 Critic Score
    A 12-song collection of ear candy so sweet as to give many listeners a toothache.
    • 81 Metascore
    • 80 Critic Score
    Smith's talent lays in his ability, like Tom Waits, to create a surreal landscape populated by crafty guitar and piano work and a haunting, layered voice that climbs cheek to cheek with his instruments to create something unheard of today.
    • 81 Metascore
    • 100 Critic Score
    Teetering between darkness and light, Hersh's somersaults have never been more compelling.
    • 81 Metascore
    • 75 Critic Score
    Carpenter delivers a batch of reassuring songs -- about confidence in yourself and the world -- making you wish she'd check in a bit more often.
    • 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.
    • 81 Metascore
    • 70 Critic Score
    Not only does Marshall make each of the album's dozen songs her own, but she leaves you straining to recognize the original in what she's marvelously reconfigured.
    • 80 Metascore
    • 88 Critic Score
    Sexsmith's gorgeous vocals and refined songwriting shine through.
    • 80 Metascore
    • 80 Critic Score
    The real standouts here, though, are the ballads. With "I Deserve It" and "Gone," the legacy of the corporeal and spiritual Madonna lays down amid the simplicity of basic percussive beats and acoustic guitar.
    • 80 Metascore
    • 88 Critic Score
    Slayer remains an elemental metal band, continuing to surge on something high-grade and uncut.
    • 80 Metascore
    • 75 Critic Score
    Songwriter Doug Martsch again succeeds in striking an impressive balance between guitar-saturated bombast and impeccable melodic taste.
    • 80 Metascore
    • 60 Critic Score
    The results on "Solitary Man" are mixed, leaning at times to inadvertent novelty.
    • 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.
    • 79 Metascore
    • 70 Critic Score
    The band neither succeeds wildly nor fails. There are only a few reminders of the lackluster dance sounds in its recent work... Otherwise, what dominates are the straight-ahead rhythms that drove the early days.
    • 79 Metascore
    • 100 Critic Score
    Track after solid track, "Motherland" is a collection of pure, soulful offerings.
    • 78 Metascore
    • 75 Critic Score
    Suggests Kraftwerk crashing a party at the Playboy Mansion.
    • 78 Metascore
    • 88 Critic Score
    "Gold" proves that Ryan Adams is capable of blending a myriad of styles and influences.
    • 78 Metascore
    • 80 Critic Score
    The trademark woeful brood is firmly intact. This time around, however, the Scottish duo has taken a slightly more playful approach to its music.