Spin's Scores

  • Music
For 3,394 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:
3,394 music reviews
    • 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.
    • 79 Metascore
    • 83 Critic Score
    Juicing fragile melodies with weeping George Harrison guitar, frontman Luke Steele is pretty even-keeled for a spaced-out pop maestro. [Nov 2003, p.117]
    • Spin
    • 79 Metascore
    • 83 Critic Score
    As dark and sweet as baking chocolate and as ambitious as the Mars rover. [Apr 2004, p.94]
    • Spin
    • 79 Metascore
    • 90 Critic Score
    Braxton's clever, found-sound loops are missed, but the remaining members' rampant ideas and inexorable groove keep Battles engrossing.
    • 79 Metascore
    • 83 Critic Score
    The swollen, baroque-pop arrangements... may ruffle the band's more delicate followers. But the songs are always smart, and it's the music-librarian's humor that helps keep things from slipping into the maudlin. [Nov 2003, p.109]
    • Spin
    • 79 Metascore
    • 83 Critic Score
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    Merritt's wordplay has never been slicker. [Jun 2004, p.105]
    • Spin
    • 79 Metascore
    • 91 Critic Score
    The Young-ian guitar stutter remains intact. [Mar 2005, p.92]
    • Spin
    • 79 Metascore
    • 90 Critic Score
    Accelerate will be rightfully championed as the defibrillator that shocked a once-great band back to its senses.
    • 78 Metascore
    • 90 Critic Score
    Wasting Light is much more than a salad-days nostalgia trip -- it's Grohl's most memorable set of songs since 1997's The Colour and the Shape.
    • 78 Metascore
    • 100 Critic Score
    He cross-fades scratch solos and oddball sound bites like he's trying to win a DJ battle and top the Down Beat poll at the same time. [Jan 2004, p.100]
    • Spin
    • 78 Metascore
    • 83 Critic Score
    Most of Fortune's tunes revolve around love and politics, which McArdle nails with a combination of wit, cynicism and sorrow. [Nov 2004, p.117]
    • Spin
    • 78 Metascore
    • 90 Critic Score
    On American Saturday Night, Paisley extends a hot streak began with 2003's "Mud on the Tires," singing about regular life in the USA wit and charm that make suburbs sound like heaven on earth.
    • 78 Metascore
    • 83 Critic Score
    Crimson... still has its share of macabre wordplay... but the real attraction here is the music, which sounds just as dramatic as the imagery. [Jun 2005, p.105]
    • Spin
    • 78 Metascore
    • 83 Critic Score
    Quasi sound feistier than they have in years. [Nov 2003, p.114]
    • Spin
    • 78 Metascore
    • 83 Critic Score
    Though they've traded some of the unhinged thrash of 2002's Black City for keyboardy atmosphere, the band's Goteborg gloom can't hide the hooks. [Jun 2004, p.108]
    • Spin
    • 78 Metascore
    • 100 Critic Score
    This is music to play in dark, velvety, womblike bars; this is music to play while buying cigarettes; this is music for well-dressed poor people. [May 2003, p.109]
    • Spin
    • 78 Metascore
    • 91 Critic Score
    Totally grimy. [Nov 2004, p.118]
    • Spin
    • 78 Metascore
    • 100 Critic Score
    A warm and deeply engaging snapshot of fractured relationships and existential dread. [Aug 2003, p.116]
    • Spin
    • 78 Metascore
    • 83 Critic Score
    Cryptic and cutting. [Aug 2004, p.108]
    • Spin
    • 78 Metascore
    • 83 Critic Score
    The rapper's inborn goofiness just gives his words more bite. [Mar 2005, p.85]
    • Spin
    • 78 Metascore
    • 83 Critic Score
    You just wonder how songs this miserable can sound so excruciatingly gorgeous. [Jul 2005, p.104]
    • Spin
    • 78 Metascore
    • 91 Critic Score
    Rife with acid-burn guitars, levee-breaking drums, and vocals that recall Peter Gabriel at his wooziest. [Feb 2006, p.87]
    • Spin
    • 78 Metascore
    • 83 Critic Score
    Frontman Ricky Wilson is an average singer but an extraordinary melodist. [May 2005, p.102]
    • Spin
    • 78 Metascore
    • 83 Critic Score
    Unerringly lovely, but best when the drums heat up. [Feb 2006, p.87]
    • Spin
    • 78 Metascore
    • 90 Critic Score
    This inspired, two-disc, 29-track set is one part musical grandstand like Prince's Sign O' the Times, one part marital saga like Bruce Springsteen's Tunnel of Love. [5/2001, p.139]
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