Spin's Scores

  • Music
For 3,375 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
Score distribution:
3,375 music reviews
    • 84 Metascore
    • 100 Critic Score
    Even more dense and brutal than Burma's early records. [Jun 2004, p.103]
    • Spin
    • 84 Metascore
    • 70 Critic Score
    Last year's Merriweather Post Pavilion, SPIN's 2009 Album of the Year, forwent such formlessness, but the haze returns on this five-track EP. Fortunately, Merriweather's hummable, techno-indebted delirium also returns.
    • 84 Metascore
    • 67 Critic Score
    Fiction is less nervous than its predecessors but emotionally knottier. [May 2005, p.103]
    • Spin
    • 84 Metascore
    • 91 Critic Score
    AC are all about the sometimes blissful, often uncanny intermingling of song and space. [Nov 2005, p.98]
    • Spin
    • 84 Metascore
    • 80 Critic Score
    Yeezus ranks as more than a glorified placeholder in West's catalogue, but one can't help feeling that parenthood will compel his muse to even more Olympian levels of bombast and grandiosity.
    • 84 Metascore
    • 80 Critic Score
    The tug-of-war between bristly unavailability and candid confession mirrors a musical duet between post-punk snarls and genial pop charms. There's no resolution, but the struggle is endlessly compelling.
    • Spin
    • 84 Metascore
    • 100 Critic Score
    There is no more transportive band working in music. [Oct 2005, p.140]
    • Spin
    • 84 Metascore
    • 90 Critic Score
    Over ten songs detailing a young man's despair and self-doubt, he delivers a performance that's both deeply confident and convincingly vulnerable, replete with stark, piano-based meditations and fuzz-pedal-abetted fury.
    • 84 Metascore
    • 80 Critic Score
    Agalloch have never sounded so rich, so full.
    • 84 Metascore
    • 80 Critic Score
    Her voice is a bear hug in the literal sense; succumbing to it is like being carjacked by Patsy Cline.
    • 84 Metascore
    • 70 Critic Score
    When she depletes her stock of declarative phrases, Olsen has little to say about these mercurial emotional swings except that she's feeling them. Or unprepared to commit to them. Still, the good songs on Burn Your Fire for No Witness suggest Olsen is figuring out how to sound--how to resound, actually.
    • 84 Metascore
    • 80 Critic Score
    The best-sounding Decemberists record to date. [Nov 2006, p.103]
    • Spin
    • 84 Metascore
    • 75 Critic Score
    Elizondo's zippy production effectively pushes Apple's tendency to plod. [Nov 2005, p.96]
    • Spin
    • 84 Metascore
    • 80 Critic Score
    Killing Time is no breakthrough, but it does pack actual hard-rock crunch, not just sure-shot emo punch.
    • 84 Metascore
    • 100 Critic Score
    A bruisingly great collection of demented 1988-style boom-bap. [May 2004, p.107]
    • Spin
    • 84 Metascore
    • 50 Critic Score
    Flashes of fun appear--dig the glam-Sabbath stomp of 'Inconvenience'--but most of Dark could use more color.
    • 84 Metascore
    • 80 Critic Score
    Of course, the main attraction remains his bristling, zigzag guitar licks, which still astound nearly 40 years on. [Jun 2007, p.96]
    • Spin
    • 84 Metascore
    • 70 Critic Score
    [Franz Ferdinand's] Alex Kapranos... owes JK crooner Paul Haig a pint. [Dec 2006, p.103]
    • Spin
    • 84 Metascore
    • 80 Critic Score
    The real orchestration is in Beam's voice, a sigh so angelic it masks the religious turmoil within. [Oct 2007, p.106]
    • Spin
    • 84 Metascore
    • 75 Critic Score
    Sound[s] like Prince cutting the ass out of Squarepusher's pants. [Aug 2005, p.103]
    • Spin
    • 84 Metascore
    • 70 Critic Score
    It's hard to think of another post-hardcore lifer whose return to active duty is so high-five worthy.
    • 84 Metascore
    • 80 Critic Score
    Tennant and Lowe's rueful melodies and vocals dilute the euphoria. Classic Pet Shop Boys, in other words.
    • 84 Metascore
    • 80 Critic Score
    Like art, Vampires is dense; like pop, it seems to float in effortlessly from some place you're sure you've been, but by some trick of déjà vu eludes your conscious brain.
    • 84 Metascore
    • 60 Critic Score
    Philippe Zdar handles most vocals, sneering through the propulsive dance-punk single 'Toop Toop' but failing to sustain the drones that dominate this overlong disc's second half.
    • 84 Metascore
    • 90 Critic Score
    Preposterous and sensational, We Love Life grapples with nothing less than how best to prove you're alive. [Oct 2002, p.116]
    • Spin
    • 84 Metascore
    • 91 Critic Score
    Finds these thoughtful Brits exploring even more emotional territory. [Mar 2004, p.96]
    • Spin
    • 84 Metascore
    • 80 Critic Score
    Gone are the prior albums' "tasteful" (i.e., boring) slow-burners; El Camino's 38 minutes are pure thrust.
    • 84 Metascore
    • 80 Critic Score
    Dream River flows from one track to the next, with a similarity of tempo that makes it play like eight movements of one 40-minute song. But a few moments stand out.
    • 84 Metascore
    • 70 Critic Score
    Pompadoured George Taylor Jr. has more than enough melodic grace and pretty-boy swag to nail the sound.
    • 84 Metascore
    • 80 Critic Score
    There's still something small and handmade about the Thermals' music. [Sep 2006, p.112]
    • Spin