Spin's Scores

  • Music
For 3,265 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 Takk...
Lowest review score: 0 Noah's Ark
Score distribution:
3,265 music reviews
    • 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]
    • 84 Metascore
    • 75 Critic Score
    Elizondo's zippy production effectively pushes Apple's tendency to plod. [Nov 2005, p.96]
    • 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]
    • 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]
    • 84 Metascore
    • 70 Critic Score
    [Franz Ferdinand's] Alex Kapranos... owes JK crooner Paul Haig a pint. [Dec 2006, p.103]
    • 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]
    • 84 Metascore
    • 75 Critic Score
    Sound[s] like Prince cutting the ass out of Squarepusher's pants. [Aug 2005, p.103]
    • 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]
    • 84 Metascore
    • 91 Critic Score
    Finds these thoughtful Brits exploring even more emotional territory. [Mar 2004, p.96]
    • 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]
    • 84 Metascore
    • 70 Critic Score
    The aptly titled Wake Up the Nation hardly feels like a nostalgia trip; in the taut, two-minute boogie-punk number "Fast Car/Slow Traffic," Weller could be describing himself in relation to his heritage-rock peers.
    • 84 Metascore
    • 90 Critic Score
    ESG's DIY tracks have a raw, unfinished feel--echo-drenched vocals buried deep in the mix, jagged hen-scratch guitar, taut bass lines as infectious as mononucleosis, and reverberating layers of percussion... The group's 1981 debut single, "Moody"... is one of the funkiest songs ever recorded. [Sep 2000, p.181]
    • 84 Metascore
    • 90 Critic Score
    A near-masterpiece of magical sounds that are both familiar and wildly new, a stunning blend of classic Americana and classical orchestration.
    • 84 Metascore
    • 75 Critic Score
    Inches compiles them all, from the high-voltage shriekathon "Blackouts on Thursday" to "Hold on to Your Genre," where a churning bass line meets shimmery guitar worthy of a new-wave Edge. [Jun 2004, p.108]
    • 84 Metascore
    • 70 Critic Score
    The songs on The Letting Go that flirt with familiar forms... feel completely devoid of his pretentious tendencies. [Oct 2006, p.94]
    • 84 Metascore
    • 70 Critic Score
    UGK 4 Life is a fitting capper to this Texas duo's storied career--nothing groundbreaking, just funky, rough-hewn, celebratory tracks.
    • 84 Metascore
    • 80 Critic Score
    Marion's approach varies, but his surprisingly soulful songs consistently connect, a significant feat considering we only hear his voice through a Fender.
    • 84 Metascore
    • 80 Critic Score
    The self-production here is a bit murky, maybe, and the drums and vocals have seen sharper days. But these dudes still turn sharp corners.
    • 84 Metascore
    • 80 Critic Score
    They're still wildly unpredictable--and still committed to not singing in English--but the dichotomy between the adrenaline rushes and chill-out moments seems a bit more purposeful.
    • 84 Metascore
    • 80 Critic Score
    Thanks to its introspective depth, it's equally well suited to solitary listening, the rare mix that connects dance music's public sphere--joyous, communal, kinetic, chaotic--with a more private kind of rapture.