Splendid's Scores

  • Music
For 793 reviews, this publication has graded:
  • 65% higher than the average critic
  • 2% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 2.6 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 Hate
Lowest review score: 10 Fire
Score distribution:
  1. Negative: 20 out of 793
793 music reviews
    • 78 Metascore
    • 60 Critic Score
    A band more fixated with guitar solos and drunken fist-pumping than in the more nuanced, desperate territory of their former incarnation [Lifter Puller].
    • 72 Metascore
    • 60 Critic Score
    From a new band, Get Ready would seem like an accomplished if uneven effort.
    • 61 Metascore
    • 60 Critic Score
    It's disappointing to hear them following trends rather than inspiring them.
    • 66 Metascore
    • 60 Critic Score
    There are too many ambitious singer/songwriter albums out there to easily justify any water-treading.
    • 70 Metascore
    • 60 Critic Score
    Unless you're fifteen and were raised with a mouse constantly in hand, the Mae Shi can get overwhelming... but their saving graces (lots of genuine energy, naming their songs things like "Hieronymus Bosch is a Dead Man") charm you into liking them.
    • 80 Metascore
    • 60 Critic Score
    Unwieldy psychedelic dinosaurs like "First Wave Intact" and the title track hint that they're looking to become the new gods of bong-powered thunder -- but then they drop a bomb like the sleek, urbanely scoffing "Road Leads Where It's Led" and instantly re-cast themselves as black-clad top forty gatecrashers looking for a fast ticket to fortune and fame.
    • 79 Metascore
    • 60 Critic Score
    Murdoch, finally free to take charge of his band, has done so in spades, and the result is a confident, assured affair...that, to many listeners, will seem utterly out of character.
    • 76 Metascore
    • 60 Critic Score
    People who listened to Sahara Hotnights' albums in their proper sequence will appreciate their improvement, but those who heard Jennie Bomb first may well end up preferring it.
    • 72 Metascore
    • 60 Critic Score
    Though marred by a few missteps, it's mostly enjoyable, if unchallenging.
    • 79 Metascore
    • 60 Critic Score
    Lovers' vast scope quickly becomes a daunting proposition for its listener.
    • 48 Metascore
    • 60 Critic Score
    If you'd never heard Gotham!, you might very well find much to like about Stealing of a Nation.
    • 62 Metascore
    • 60 Critic Score
    Mono singlehandedly redefines the concept of dynamics. They are very quiet, and then very loud. It will hurt your head.
    • 82 Metascore
    • 60 Critic Score
    Less cohesively engaging than March on Electric Children, Burn, Piano Island, Burn is, by turns, spasmodically inviting and gratingly repulsive to all but the most patient of noisemongers.
    • 75 Metascore
    • 60 Critic Score
    Six of the seven songs are understated, melodic mid-tempo pieces.... The song that breaks the mold is also the album's best moment[:]"Astronaut."
    • 75 Metascore
    • 60 Critic Score
    Wine drinkers' music, you might say -- likeable, pleasant, but lacking in consuming, driving passion.
    • 78 Metascore
    • 60 Critic Score
    By the time "Our Mutual Friend"'s symphonic percussion and hammering cellos reach their crashing apex, the album begins to feel a little like the fourth consecutive hour at a well-stocked party full of musical theater majors.
    • 70 Metascore
    • 60 Critic Score
    The problem is, it all feels a bit contrived.
    • 74 Metascore
    • 60 Critic Score
    Harmless and happy, with an underbelly of serious sadness, Keep it Together dares to be average, and comes out sounding and feeling pretty decent.
    • 78 Metascore
    • 60 Critic Score
    The group creates an ornately atmospheric resonance throughout Ambulance Ltd., but their light-weight compositions place the album at serious risk of floating away.
    • 70 Metascore
    • 60 Critic Score
    Mercifully, Frusciante has toned down the screechy howl that made his earlier work almost unbearable, and while his songs aren't quite diamond-sharp, they have evolved into soft-focus pop tunes that display a keen melodic intuition and gift for beautiful torment.
    • 63 Metascore
    • 60 Critic Score
    There's definitely nothing earth-shattering here... but there's nothing that's going to alienate the fanbase, either.
    • 70 Metascore
    • 60 Critic Score
    I'm used to hearing more layers in this type of music, and the simplicity here is surprising -- not necessarily in a good way.
    • 76 Metascore
    • 60 Critic Score
    Like the Austin Powers films, there's a sense that authenticity has been betrayed in some vague and troubling way.
    • 63 Metascore
    • 60 Critic Score
    If "We Are A&C" was the album's low point, the album would be in great shape -- but there are a few half-hearted tracks that stake a more legitimate claim to that dubious honor.
    • 67 Metascore
    • 60 Critic Score
    The fact that it hides among its excesses a handful of truly excellent rock anthems seems almost like an afterthought, as if, when the band ran out of crazy ideas, they found that there was nothing left to do but write actual songs.
    • 73 Metascore
    • 60 Critic Score
    Some moments are exciting, but overall it's a bit cluttered.
    • 69 Metascore
    • 60 Critic Score
    Inara George's voice is so gorgeous and soothing that you'll immediately believe that you can listen to it forever. Unfortunately, by the fifth or sixth song on All Rise, you'll wonder if you have been listening to her forever.
    • 72 Metascore
    • 60 Critic Score
    While there are plenty of MTV2-ready tunes, the record doesn't bear much repetition.
    • 71 Metascore
    • 60 Critic Score
    The songs here are resolutely pop, almost bubblegum, and though they're sometimes buoyant, hyperkinetic, even fun, they have almost no depth or resonance to them.
    • 70 Metascore
    • 60 Critic Score
    There's enough strong material on The Story of My Life to score Carter time on CMT and get her in good with the Borders crowd, cementing her cross-genre appeal.