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 Welcome Interstate Managers
Lowest review score: 10 Fire
Score distribution:
  1. Negative: 20 out of 793
793 music reviews
    • 64 Metascore
    • 60 Critic Score
    Shrill, sharp, twitchy compositions that can be as abrasive as they are compelling.
    • 68 Metascore
    • 60 Critic Score
    Hal
    You'll either find it cloying and saccharine or heartfelt and precise, or maybe a little bit of both.
    • 77 Metascore
    • 60 Critic Score
    The Ponys have achieved a certain level of competence, and if you're willing to accept that in place of originality or innovation, Celebration Castle is worth checking out.
    • 78 Metascore
    • 60 Critic Score
    While Face The Truth rarely presents a side of its creator that has not already been seen, loved, and cried over, it's a passable, even better-than-average album.
    • 73 Metascore
    • 60 Critic Score
    Outstanding production, clever lyrics and catchy melodies should add up to the sort of record capable of making a serious splash. Unfortunately, Invisible Invasion demonstrates an unwavering adherence to established musical traditions.
    • 75 Metascore
    • 60 Critic Score
    Though Maximo Park has enough electricity to light Manhattan, there's a faint but inescapable whiff of calculation about them.
    • 90 Metascore
    • 60 Critic Score
    An expansive album that ultimately recycles itself.
    • 69 Metascore
    • 60 Critic Score
    Gray is wise to continue experimenting and testing the boundaries of his art, but his changes don't need to be this bold. In this case, he comes up short: his minimalist mastery does not translate to resounding baroque success.
    • 67 Metascore
    • 50 Critic Score
    By forsaking professionals for amateurs, the Plan has narrowed the scope of their artistic vision; for every stunning reworking, like Deadverse's "Automatic", there's a stinker like ASCDI's predictably bland mix of "Time Bomb" or Cynyc's blasé beat-slapping "Following Through".
    • 66 Metascore
    • 50 Critic Score
    I wouldn't go so far as to say that White People should never have happened... but Paul and Dan would do well to move on while they're still ahead.
    • 82 Metascore
    • 50 Critic Score
    I can respect the need to innovate in hip-hop, but variety here comes at a cost -- there's no coherent or consistent melodic through-line.
    • 69 Metascore
    • 50 Critic Score
    Mid-tempo rocker follows mid-tempo rocker without any change of pace to keep things interesting.
    • 66 Metascore
    • 50 Critic Score
    Statistics... come off like an emo version of Coldplay.
    • 56 Metascore
    • 50 Critic Score
    Seal IV... finds him retreading old ground and misguidedly attempting to claim new territory.
    • 72 Metascore
    • 50 Critic Score
    Unfortunately, it seems that the only thing he really learned was how to write a Pavement tune, and he's having a little trouble trying to figure out what to do with himself now that Pavement is no more.
    • 63 Metascore
    • 50 Critic Score
    For a band that regularly draws comparisons to Beta Band and Pavement, Vehicles & Animals is all too pedestrian.
    • 72 Metascore
    • 50 Critic Score
    Their songs routinely beg for a spoken message, to the point where their originals sound like dub versions.
    • 74 Metascore
    • 50 Critic Score
    There's nothing wrong with her performance -- it's just undistinguished.
    • 60 Metascore
    • 50 Critic Score
    Plenty of albums split the difference between gems and junk, but the biggest problem with Glass House is that it lacks any discernible anima; the band seems to be phoning in their performance from a comfy armchair somewhere in Milwaukee.
    • 71 Metascore
    • 50 Critic Score
    I so want to hate this album.... If only the album flat-out sucked, I'd be on much firmer ground. Too bad it doesn't.
    • 76 Metascore
    • 50 Critic Score
    You say you don't give a shit about lyrics? That's good; most of Echoes' lyrics aren't worth giving a shit about.
    • 74 Metascore
    • 50 Critic Score
    Taken as a group, Heroes to Zeros' slower songs are the musical equivalent of a month-long sinus infection: heavy on the repetition, sleepy detachment and sensory deprivation.
    • 62 Metascore
    • 50 Critic Score
    Sparta seem a bit too retro-focused for their own good.
    • 63 Metascore
    • 50 Critic Score
    The passion that once seeped from the group now appears manufactured.
    • 64 Metascore
    • 50 Critic Score
    In the end, Tree City's quality makes its carbon-copy nature all the more frustrating.
    • 62 Metascore
    • 50 Critic Score
    There's a lot to admire on Jackinabox, although it's ultimately less than spectacular and even occasionally embarrassing.
    • 70 Metascore
    • 50 Critic Score
    Although the group's previous outings routinely got bogged down in forced experimentalism, Broken Ear Record at least keeps the pace sufficiently frantic, which allows us to excuse some (if not all) of its more self-indulgent moments.
    • 64 Metascore
    • 50 Critic Score
    After a while, the songs begin to sound the same, and while Martey's vocals are consistently strong, the fact that she almost always sings in the same range robs them of much of their effect.
    • 72 Metascore
    • 50 Critic Score
    While the Big Chorus and post-hardcore theatricality are hardly disparate stylistic traits, it's odd that Rogue Wave would embrace them after establishing themselves as a nuanced pop outfit.
    • 70 Metascore
    • 40 Critic Score
    There wouldn't be a problem at all if Buzzkunst wasn't such a maddeningly forgettable record.