Spin's Scores

  • Music
For 3,376 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 2.8 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:
3,376 music reviews
    • 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]
    • Spin
    • 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]
    • Spin
    • 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.
    • 84 Metascore
    • 70 Critic Score
    Long on cryptic references (you mean you haven't read Curzio Malaparte's 1944 novel Kaputt?) and Euro-weary mood, the vintage electronic-pop ambience of Destroyer's ninth album recalls the days when MTV emphasized music.
    • 84 Metascore
    • 70 Critic Score
    Playing songs about cops on the take and dying in Penn Station with a hurtling forward motion that prevents the music from sounding (entirely) like a book report. Killer accordion solos, too.
    • 84 Metascore
    • 80 Critic Score
    It's a thoroughly satisfying album, but surprises are in short supply. [May 2002, p.120]
    • Spin
    • 84 Metascore
    • 90 Critic Score
    The songs are flat-out rollicking, like what Fugazi might come up with if their tour-van radio got stuck on the classic-rock station. [Feb 2003, p.98]
    • Spin
    • 84 Metascore
    • 80 Critic Score
    Holmes' Bow Down breaks from the elegant flow-noir of his previous platters by spinning luridly out of control. [12/2000, p.220]
    • Spin
    • 84 Metascore
    • 80 Critic Score
    That pairing of punk force and country grit is nothing new, but Lydia Loveless makes it her own through the strength of a blazing voice, a fully formed persona, and bluntly crafty songwriting.
    • 84 Metascore
    • 80 Critic Score
    Parquet Courts' over-the-top energy, speed, and succinctness makes the combination sound fresher than anything the original elements have managed in years.
    • 84 Metascore
    • 40 Critic Score
    There are interesting moments... but too often they're smothered in a formless buzz of guitar, samples, voilin, harmonica--you name it. [Jul 2006, p.87]
    • Spin
    • 84 Metascore
    • 90 Critic Score
    Old Ramon is sinuous and unhurried, a beautiful downer of a folk rock record that has the lithe and shadowy promise of the ocean.
    • 84 Metascore
    • 83 Critic Score
    One of the best psych-rock records of our young century. [Sep 2004, p.117]
    • Spin
    • 84 Metascore
    • 83 Critic Score
    It's no mere gimmick. [Oct 2004, p.111]
    • Spin
    • 84 Metascore
    • 70 Critic Score
    Ghostface Killah's ninth album consoles his hardcore constituency: Forty-plus minutes of gritty, soul-sampling beats soundtracking bizarro street tales ("Starkology," "Ghetto"), with lyrical tough-guys Busta Rhymes, Redman, and more than half the Wu Tang Clan tagging along.
    • 84 Metascore
    • 80 Critic Score
    What keeps Murphy from being an insufferable know-it-all is how he folds deeper emotions into his references....Older, snottier, his edge remains.
    • 84 Metascore
    • 80 Critic Score
    Monumentally caustic but hypothetically a dance band, Sleigh Bells sculpt infectious double-dutch funk from an unlikely acid bath of distorted drum machines and nasal pigfuck guitars.
    • 84 Metascore
    • 80 Critic Score
    What could have been an assless art-groove experiment turns out to be a synth-pop idyll. [Feb 2003, p.99]
    • Spin
    • 84 Metascore
    • 75 Critic Score
    After ten years, Rancid's still-rock-solid kinship is evident in their lock-step chemistry. [Oct 2003, p.108]
    • Spin
    • 84 Metascore
    • 100 Critic Score
    Beam has given us his second straight masterwork: self-assured, spellbinding, and richly, refreshingly adult. [Apr 2004, p.89]
    • Spin
    • 84 Metascore
    • 70 Critic Score
    Poised, cool, and impermeable, Trouble Will Find Me apotheosizes urban romance and its discontents, where conversations are monologues, parties are confessionals, and education and analysis are interchangeable.
    • 84 Metascore
    • 70 Critic Score
    It's Dillinger's willingness to constantly incorporate new sounds--even commercial ones-- that makes Ire Works an experimental-rock touchstone. [Dec 2007, p.126]
    • Spin
    • 84 Metascore
    • 90 Critic Score
    Ultimately, what makes Excavation such an awesome and absorbing listen is precisely its indifference to the listener.
    • 84 Metascore
    • 70 Critic Score
    His deceptively fragile vocal style and skewed lyrical genius were already evident at age 22 in these 13 acoustic songs recorded over two nights at a Michigan Episcopal church.