Spin's Scores

  • Music
For 3,261 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 2.9 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 Van Lear Rose
Lowest review score: 0 Noah's Ark
Score distribution:
3,261 music reviews
    • 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]
    • 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]
    • 85 Metascore
    • 91 Critic Score
    An atavistic orgy of recycled riffs and lifelong obsessions. [Sep 2004, p.120]
    • 85 Metascore
    • 83 Critic Score
    Gruff stuff... A few rockers lighten the load, but not by much. [Sep 2004, p.120]
    • 85 Metascore
    • 80 Critic Score
    Yo La Tengo remain true to their Velvet Underground roots. [Oct 2006, p.105]
    • 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]
    • 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]
    • 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]
    • 85 Metascore
    • 90 Critic Score
    Ys
    Throughout the album, Newsom's language is more colorful than on Mender; at its best, it works as music even on the page. [Dec 2006, p.95]
    • 85 Metascore
    • 75 Critic Score
    Where Basement Jaxx's diversity used to serve a club-DJ flow, here they let it off the leash, with mixed results. [Dec 2003, p.126]
    • 85 Metascore
    • 70 Critic Score
    Lambert is still at her bubbliest playing a guntoting, wisecracking, catfighting gal next door who cusses like a sailor, or at least brags that she does, plotting revenge on lying boyfriends and town hypocrites--preferably at cowpunk tempo.
    • 85 Metascore
    • 90 Critic Score
    With Tomorrow's Harvest, the Sandisons' return feels natural. Rather than resort to hiring disco session musicians or citing Judith Butler to add a new kink to their sound, they've done something even rarer in the modern era: They’ve aged with grace.
    • 85 Metascore
    • 90 Critic Score
    Clark's complex femininity, both self-possessed and keenly evolving, is what makes her music so powerful and fascinating.
    • 85 Metascore
    • 80 Critic Score
    One Beat's hooks require a few passes to take hold. [Sep 2002, p.127]
    • 85 Metascore
    • 70 Critic Score
    Though Kool Herc is just eight songs and 27 minutes long, it's plenty challenging and weighty.
    • 85 Metascore
    • 80 Critic Score
    That's the National's insidious brilliance: No other band makes dark and stormy seem like ideal weather.
    • 85 Metascore
    • 91 Critic Score
    Welcome to the Dirty North, y'all. [Feb 2005, p.88]
    • 85 Metascore
    • 90 Critic Score
    The result is artistic click bait, and its genius and connective power is that it doesn’t treat music fans as factions. This one is for everyone, all at once.
    • 85 Metascore
    • 90 Critic Score
    R.A.P. Music, the sixth album by from Atlanta firebrand Killer Mike, is a stunning anachronism.
    • 85 Metascore
    • 70 Critic Score
    Before Today still sounds like it was dubbed to cassette and left on the dash of a 1983 Datsun for an entire summer. Every aspect seems faded and warped, but that doesn't obscure Pink's savvy maneuvering.