Spin's Scores

  • Music
For 3,402 reviews, this publication has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 2.7 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 To Pimp A Butterfly
Lowest review score: 0 They Were Wrong, So We Drowned
Score distribution:
3,402 music reviews
    • 85 Metascore
    • 80 Critic Score
    As concept and program, Sullivan's best album to date boasts every curtain call and lighting effect designed to flatter its star.
    • 85 Metascore
    • 83 Critic Score
    More prosaic and profane than many of his labelmates. [May 2004, p.108]
    • Spin
    • 85 Metascore
    • 100 Critic Score
    It feels more like a band playingto a multitude of strengths than the formal wrestling of Kid A. [Jul 2003, p.103]
    • Spin
    • 85 Metascore
    • 90 Critic Score
    Musically, the hooks are softer, the arrangements more ambitious, and 1960s British psychedelic folk (Fairport Convention, Vashti Bunyan, Pentangle) a far more palpable influence than the Americana that fueled the band's 2008 debut.
    • 85 Metascore
    • 83 Critic Score
    Tankian remains the sort of agitprop trickster whom partisans on both side so fthe aisle are wise to distrust. [Jul 2005, p.101]
    • Spin
    • 85 Metascore
    • 91 Critic Score
    There's a nifty kind of egolessness about the NPs: They're team players in a way that few other bands are right now. [Aug 2005, p.93]
    • Spin
    • 85 Metascore
    • 80 Critic Score
    This guy has written 40-plus albums of material, so it's saying something that Benji is one of his more challenging listens.
    • 85 Metascore
    • 60 Critic Score
    Subtle... build their hybrid from a quarter century of pop and college radio, then animate it with a megawatt jolt of race/class anxiety. [Dec 2006, p.100]
    • Spin
    • 85 Metascore
    • 80 Critic Score
    The strongest [tracks]... get to Smith's best impulse: a willingness to find the innocence in life. [May 2007, p.94]
    • Spin
    • 85 Metascore
    • 80 Critic Score
    More avant-opera than pop. [Jul 2006, p.90]
    • Spin
    • 85 Metascore
    • 75 Critic Score
    Just as messy as the Mescaleros' first two stabs at relevance. [Jan 2004, p.102]
    • Spin
    • 85 Metascore
    • 70 Critic Score
    Surprisingly hot to the touch, Wild Beasts' third album does more with less, paring down the quartet's groove-inflected chamber pop to expose raw burning desire.
    • 85 Metascore
    • 80 Critic Score
    She simply delves deeper and gives what few artists can deliver: a self-contained world of warmth, crystalline detail, and intimacy that lies far beyond a Twitter feed.
    • 85 Metascore
    • 70 Critic Score
    Though she's celebrated for her post-1960 Chess recordings and '67 Muscle Shoals scorcher Tell Mama, her '50s singles, collected here, trace the development of soul's first queen.
    • 85 Metascore
    • 80 Critic Score
    A wildly inspired blend of tribal rhythms, wah-wah guitar, fatback bass lines, and the heated unnnhs and yeeowws that typify James Brown funk.
    • 85 Metascore
    • 83 Critic Score
    Though it's more of a mash-up of two solo EPs than an album, we're just lucky these guys still bump into each other. [May 2005, p.105]
    • Spin
    • 85 Metascore
    • 80 Critic Score
    Even as they feature orchestras, women's choirs, and Beach House singer Victoria Legrand on Veckatimest, the album is still an intimate, ascetic affair.
    • 85 Metascore
    • 80 Critic Score
    Longstreth's prickly surface belies a bright pop center: tart, sweet, and gushing all at once.
    • 85 Metascore
    • 80 Critic Score
    Here, on record, buttressed by her own diaphanous back-up vocals, she's fading deliciously into the background even as she's finally stepping into the spotlight.
    • 85 Metascore
    • 100 Critic Score
    Not since Grateful Dead's Europe '72 has there been a live double album in which intimacy and expansiveness, guitar mess and piano reflection commingle this sweetly. [Dec 2005, p.107]
    • Spin
    • 85 Metascore
    • 91 Critic Score
    An atavistic orgy of recycled riffs and lifelong obsessions. [Sep 2004, p.120]
    • Spin
    • 85 Metascore
    • 83 Critic Score
    Gruff stuff... A few rockers lighten the load, but not by much. [Sep 2004, p.120]
    • Spin
    • 85 Metascore
    • 80 Critic Score
    Yo La Tengo remain true to their Velvet Underground roots. [Oct 2006, p.105]
    • Spin
    • 85 Metascore
    • 70 Critic Score
    This set--six meticulously documented hours recorded before his first proper album--is a progress chart.
    • 85 Metascore
    • 80 Critic Score
    Abraham's broken-glass belloiw is often matched with folk-siren backup vocals that disorient more than they soothe. Multi-tracks thicken and slur the guitar riffs, heightening both the tension and complexity. [Nov 2008, p.102]
    • 85 Metascore
    • 91 Critic Score
    Savage punk rock that shifts and shakes like the bleachers during a homecoming orgy. [Jan 2005, p.98]
    • Spin
    • 85 Metascore
    • 70 Critic Score
    Patrick Stickles screams and moans amid the swirling, lo-fi racket, and although he sounds a helluva lot like Conor Oberst, this is no Bright Eyes knockoff. The Airing of Grievances is more inviting, fraternal, and widely referential.
    • 85 Metascore
    • 91 Critic Score
    [Death Cab] have never made the truly great album that their best songs promised. Until now. [Nov 2003, p.112]
    • Spin
    • 85 Metascore
    • 80 Critic Score
    Wonderfully unsentimental, beautifully tuneful.
    • 85 Metascore
    • 70 Critic Score
    Finn infuses his windy tales of youthful debauchery with a mixture of detective-fiction luridness and first-club-show romanticism. [Nov 2006, p.100]
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