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 Internal Wrangler
Lowest review score: 10 Wikked Lil' Grrrls
Score distribution:
  1. Negative: 20 out of 793
793 music reviews
    • 79 Metascore
    • 70 Critic Score
    American Idiot isn't so much meticulously crafted as it is unflinchingly audacious.
    • 79 Metascore
    • 80 Critic Score
    i
    The only real problem with i is the sheer volume of excellence we've all come to expect from Merritt.
    • 79 Metascore
    • 90 Critic Score
    For all of Walking with Thee's obvious musical accomplishments, its most impressive facet is the ability to transcend all the hype, hoopla and haranguing surrounding its release.
    • 79 Metascore
    • 80 Critic Score
    What’s Next to the Moon is Kozelek achieving the impossible; he has actually managed to make AC/DC sound romantic.
    • 79 Metascore
    • 80 Critic Score
    It is (Smog)'s most colorful, vigorous, and alive album to date.
    • 79 Metascore
    • 90 Critic Score
    His vision appears to be his own, and just happens to coincide with both the director's and the author's visions also, resulting in one of the best soundtracks -- and albums -- I've heard in a long time.
    • 79 Metascore
    • 80 Critic Score
    It's hard to put into words exactly what makes this album so appealing. The mindlessness of it all is a major selling point.
    • 78 Metascore
    • 80 Critic Score
    It's a dense, matte-black monoblock of furious sonic energy -- ultra-compressed riffs, barely controlled bursts of feedback, and lyrics more urgent and angry than anything Wire have done in the last twenty-odd years.
    • 78 Metascore
    • 60 Critic Score
    Anyone searching for a wholly absorbing listening experience should look (and listen) elsewhere.
    • 78 Metascore
    • 70 Critic Score
    These new stylistic change-ups give Of Montreal a contemporary edge, but dull the pastoral chaos that made them so charming to start with.
    • 78 Metascore
    • 90 Critic Score
    It's powerful, clever, and you can dance to it.
    • 78 Metascore
    • 70 Critic Score
    This is powerful stuff, unrelenting and dark.
    • 78 Metascore
    • 90 Critic Score
    Aside from being a strikingly orchestrated affair that ranks among Quasi's best work, Hot Shit! is the fully-realized version of Quasi that Coomes has envisioned since the beginning.
    • 78 Metascore
    • 80 Critic Score
    Here, finally, is a goth album for people who hate goth, an electronic album for people who hate electronica, and a pop album for everyone else.
    • 78 Metascore
    • 70 Critic Score
    Deliberately slow in tempo, delicately arranged, emphatically "dreamy" in tone, Misery is a Butterfly is lovely, but also difficult going for Blonde Redhead fans.
    • 78 Metascore
    • 90 Critic Score
    Waiting For The Moon is a welcome and singularly strong addition to one of the most impressive catalogues in modern music.
    • 78 Metascore
    • 90 Critic Score
    The songs may pay excessive homage in spirit, but their composition and divergent tones are wholly original.
    • 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.
    • 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.
    • 78 Metascore
    • 80 Critic Score
    Real Gone may not rock your world in the way that 2002's musical one-two punch of Blood Money and Alice did, but you'll still be glad to hear it.
    • 78 Metascore
    • 80 Critic Score
    One of the major differences between this and other Grandaddy releases is that Lytle finally seems comfortable in his role as production auteur.
    • 78 Metascore
    • 80 Critic Score
    The music here is never outright parody, and there's evidence that real work went into creating this record -- it isn't a lightweight effort designed to cash in on retro-trendiness.
    • 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].
    • 78 Metascore
    • 80 Critic Score
    The joy of Lost in Revelry is its balance. It's assured, but freely flaunts its imperfections; it's polished, but clearly revels in its most amateurish moments.
    • 78 Metascore
    • 90 Critic Score
    While it delivers the triumphant rock 'n' roll thrills and oddball incantations promised by the GBV "brand", the most surprising thing about Earthquake Glue is that, at a point in his career when his inventiveness really should be waning (along with his libido and his prostate), Robert Pollard's creative spark seems brighter than ever.
    • 78 Metascore
    • 80 Critic Score
    The album sounds mature, weathered, tired and occasionally almost weary, but is far to dynamic to ever seem truly lethargic.
    • 78 Metascore
    • 70 Critic Score
    Usually entertaining, often thought-provoking, and occasionally insightful.
    • 78 Metascore
    • 80 Critic Score
    The Double combine unsettling electronic noise with simple, enjoyable vocal hooks to create a rickety, rattletrap pop collage that's too undeniably ear-catching to ignore.
    • 78 Metascore
    • 90 Critic Score
    The Instinct is a showcase for an amazing voice and a band that knows how to build around it.... One of the best albums of 2003.
    • 78 Metascore
    • 90 Critic Score
    An exciting return to the days of the imaginative songwriter.