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 Yoshimi Battles The Pink Robots
Lowest review score: 10 Fire
Score distribution:
  1. Negative: 20 out of 793
793 music reviews
    • 83 Metascore
    • 80 Critic Score
    Imagine a less sardonic John Wesley Harding, prone to occasional bouts of husky, Peter Gabriel-style vocal sincerity, and you'll have the basic idea.
    • 75 Metascore
    • 80 Critic Score
    [A] decisive step in a darker, weirder direction.
    • 82 Metascore
    • 80 Critic Score
    Stephen Malkmus' solo debut is as mature, focused, and charming as it is rambunctious.
    • 74 Metascore
    • 80 Critic Score
    Underneath all those shiny, shiny flourishes and moddish overtones, though, is some seriously smart, witty music, for the most part.
    • 64 Metascore
    • 80 Critic Score
    In terms of pure power-pop delight, Velocity of Sound is hard to beat -- it's one of those records that taps directly into your musical pleasure center and jabs repeatedly at the best bits.
    • 70 Metascore
    • 80 Critic Score
    Like Tindersticks without the strings, and with a better sense of vocal clarity, L'Altra is the kind of band whose releases would be best sold with some cheap red wine and a carton of cigarettes for those long, lonely nights in.
    • 79 Metascore
    • 80 Critic Score
    It is (Smog)'s most colorful, vigorous, and alive album to date.
    • 80 Metascore
    • 80 Critic Score
    Pig Lib is the kind of album you think about even when it's not on, that slowly develops for you and creates synapses and connections that maybe Malkmus never intended.
    • 67 Metascore
    • 80 Critic Score
    Using inventive sounds and solid structures, he has created a damn fine album.
    • 71 Metascore
    • 80 Critic Score
    If your tastes favor frenzied, rabid or berserk rock, grab yourself a copy of Black Eyes and tie it up tight.
    • 84 Metascore
    • 80 Critic Score
    If you can't quite muster truly fervid enthusiasm for Send, it's probably due, in some part, to the matter-of-factness of its presentation. There is much here to be excited about, but carefully cultivated detachment seems to be Wire's preferred modus operandi.
    • 77 Metascore
    • 80 Critic Score
    A charged and melodic album full of anthemic choruses, hummable verses, and passionate rock.
    • 68 Metascore
    • 80 Critic Score
    It's probably a bolder, more daring record than it will ever be given credit for, as it's rare that an artist recognizes that she does some things very well, and then does them.
    • 73 Metascore
    • 80 Critic Score
    Rejected Unknown is a musically rich, catchy-as-hell, sad-as-all-fucking-get-out journey.
    • 84 Metascore
    • 80 Critic Score
    It's a languid and elaborate affair -- a throbbing amalgamation of wiry, Au Pairsian art-funk, steely Gang of Four resolve and Cabaret Voltaire-inflected industrial howl.
    • 75 Metascore
    • 80 Critic Score
    It is refreshing to encounter an album that does a number of different things well rather than sticking to a tried and true formula.
    • 73 Metascore
    • 80 Critic Score
    While devoid of the manic energy and double-time rhythms that were almost the group's trademark, songs like "Sweet Marie" and "Tu-Whitt Tu-Whoo" maintain a fiercely rocking edge via slowly evolving song structures and explosive, crunch guitar-driven choruses.
    • 79 Metascore
    • 80 Critic Score
    Underworld's music rarely makes dull listening, even at its most linear.
    • 65 Metascore
    • 80 Critic Score
    The Posies' latest effort offers five power-pop gems that match the best efforts of this veteran Seattle band.
    • 70 Metascore
    • 80 Critic Score
    Überzone's constant changeups in style and tempo breathe fresh life into a stale genre.
    • 78 Metascore
    • 80 Critic Score
    One of the year's best knock-down-drag-out rock 'n' roll records.
    • 82 Metascore
    • 80 Critic Score
    There's a definite demand for FLA's art, and on Epitaph, they're at the top of their game.
    • 58 Metascore
    • 80 Critic Score
    I
    If you set the more gratuitous avant-gardities aside, you're left with a fair amount of haunting, beautiful and challenging music.
    • 69 Metascore
    • 80 Critic Score
    While everything here is generally good or great, Hello continues the trend of most other Half Japanese and solo Jad Fair releases, in that the slow, Jonathan Richman-like songs shine most strongly.
    • 70 Metascore
    • 80 Critic Score
    The more I listen to The Sword of God, the more I appreciate Quasi’s ability to create smoothly flowing, catchy songs without sacrificing their trademark complexity. My only problem with this album is that the whole package is just so drenched in irony...
    • 67 Metascore
    • 80 Critic Score
    It's the stuff that a thousand indie rock records are made of, basted, breaded and cooked to perfection.
    • 77 Metascore
    • 80 Critic Score
    This time around, the man actually sounds excited to be making music.
    • 85 Metascore
    • 80 Critic Score
    Though the group largely downplays their skull-splitting excesses, their songs resonate with a fury that a lifetime worth of broken power-chords couldn't match.
    • 68 Metascore
    • 80 Critic Score
    Picking up where Wasp’s Nest left off, Hyacinths and Thistles finds Merritt constructing a complex sonic playground in which a host of guest vocalists have come to frolic. While the songs might initially be Merritt’s, each vocalist manages to transform each piece into something uniquely personal.
    • 76 Metascore
    • 80 Critic Score
    Does nothing if not cement her place as one of the most unique, intelligent and subtly disarming artists in music today.