Spin's Scores

  • Music
For 3,416 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:
3,416 music reviews
    • 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.
    • 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.