Spin's Scores

  • Music
For 3,330 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 With The Lights Out
Lowest review score: 0 They Were Wrong, So We Drowned
Score distribution:
3,330 music reviews
    • 80 Metascore
    • 91 Critic Score
    A Kleenex-grabbing, chain-smoking, staring-out-the-window, in-bed-for-days breakup record. [Jun 2004, p.106]
    • Spin
    • 80 Metascore
    • 83 Critic Score
    She doubles the weird factor. [Feb 2004, p.104]
    • Spin
    • 80 Metascore
    • 90 Critic Score
    The band recorded in a real New York City studio, with a real producer, Chris Coady (Yeah Yeah Yeahs, Beach House). And the songs are even better.
    • 80 Metascore
    • 83 Critic Score
    Like a Postal Service for hippies living off the grid. [May 2004, p.108]
    • Spin
    • 80 Metascore
    • 100 Critic Score
    Pink showcases every sound Boris can make.
    • 80 Metascore
    • 100 Critic Score
    Pig Lib is both the loopiest music Malkmus has ever made and the most direct. [Apr 2003, p.104]
    • Spin
    • 80 Metascore
    • 100 Critic Score
    After only a few spins, The Greatest sounds like another [masterpiece]. [Feb 2006, p.84]
    • Spin
    • 80 Metascore
    • 91 Critic Score
    Lets you better appreciate his knack for weaving glorious pop songs out of change-ups and mixed signals. [Jul 2004, p.109]
    • Spin
    • 80 Metascore
    • 91 Critic Score
    A lovely, eerie album that plays like a digital memory of a lo-fi lullaby. [Aug 2005, p.103]
    • Spin
    • 80 Metascore
    • 91 Critic Score
    A dark, tense record, but one still crackling with life. [Sep 2004, p.114]
    • Spin
    • 80 Metascore
    • 90 Critic Score
    Boldly, My Krazy Life is in the vein of Kendrick Lamar's good kid, m.A.A.d city, with a developed, knotty and, ultimately, deeply moral narrative.
    • 80 Metascore
    • 100 Critic Score
    The Von Bondies' calling card is the urgency of [Jason] Stollsteimer's voice as it sands down the shop-worn chord progressions. [Mar 2004, p.92]
    • Spin
    • 80 Metascore
    • 83 Critic Score
    Gleefully impurist and highly addictive. [Sep 2004, p.122]
    • Spin
    • 80 Metascore
    • 90 Critic Score
    The Dirty Projectors' best album by a mile holds that balance, all magnificent wobble, no collapse.
    • 80 Metascore
    • 91 Critic Score
    Antics is so much more fun than Turn On The Bright Lights. [Oct 2004, p.107]
    • Spin
    • 79 Metascore
    • 90 Critic Score
    A supremely dainty-assed achievement that jerks real tears. [Oct 2002, p.111]
    • Spin
    • 79 Metascore
    • 100 Critic Score
    Mix[es] xylophones, spaghetti-Western trumpets, and quirky trick guitars to sweeping effect. [Jun 2003, p.109]
    • Spin
    • 79 Metascore
    • 100 Critic Score
    While the novelty factor alone makes it worth the download time, it works as a cohesive album long after the initial shock wears off. [Apr 2004, p.91]
    • Spin
    • 79 Metascore
    • 90 Critic Score
    Roni Size and Reprazent come back so fast and furious on In the Mode that their record sounds less like a jungle reinvention than a call to arms. [Nov. 2000, p.207]
    • Spin
    • 79 Metascore
    • 90 Critic Score
    With Father, Son, Holy Ghost's exquisite, beyond-indie melodies, arrangements, and musicianship (the playful "Magic," the elegant "Just a Song," the fiery "Die"), he [Christopher Owens] and bassist-producer JR White flirt with perfection.
    • 79 Metascore
    • 90 Critic Score
    Middle Cyclone carries case's unique vision one step further: here, she truly embraces the beast within.
    • 79 Metascore
    • 83 Critic Score
    The Kings are probably sick of the "redneck Stones" tag already, but the signs are all there. [Aug 2003, p.111]
    • Spin
    • 79 Metascore
    • 91 Critic Score
    Playfully sleazy, creatively reckless, and ridiculously, abstrusely, hyper-generously funky. [Jan 2004, p.95]
    • Spin
    • 79 Metascore
    • 91 Critic Score
    Their best by a mile. [Jun 2003, p.100]
    • Spin
    • 79 Metascore
    • 91 Critic Score
    There isn't a tune on No Cities Left, the Dears' gorgeous second album, that's not pitched at a minor state of emergency. [Jan 2005, p.99]
    • Spin
    • 79 Metascore
    • 83 Critic Score
    She finally showcases a flow as strong as her vitriol. [Sep 2004, p.114]
    • Spin
    • 79 Metascore
    • 90 Critic Score
    Mostly, it's the wilting pedal steel, warm analog tubes, and lush heartbreak flourishes of "When I'm Gone" that distinguish Rose from the merchants of new country's jingles.
    • 79 Metascore
    • 83 Critic Score
    The rubbed-rawness of Uh Huh Her might seem like backpedaling. But the best tracks use the pleasure principles of Stories to update her old approach. [Jun 2004, p.101]
    • Spin
    • 79 Metascore
    • 83 Critic Score
    Here they fe-fi-fo-fum with the exacting crankiness of carny punks who've seen it all. [Mar 2006, p.95]
    • Spin
    • 79 Metascore
    • 90 Critic Score
    Like the sugar in hot sauce, all the additional soulful and jazzy flavors - pale blue chords, sax-y loops, mellow piano comping - just bring out the stinging attack of the beats more fiercely.