Sputnikmusic's Scores

  • Music
For 1,551 reviews, this publication has graded:
  • 54% higher than the average critic
  • 1% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 2 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 R.A.P. Music
Lowest review score: 10 The Path of Totality
Score distribution:
1551 music reviews
    • 64 Metascore
    • 30 Critic Score
    The songs just are just way inferior this time around. My December’s fourteen tracks (including the hidden "Chivas") sound like rough sketches fleshed out with Breakaway’s light rock arrangements.
    • 50 Metascore
    • 30 Critic Score
    The New Game signifies Mudvayne's transition from elite metal juggernaut to their inevitable fade into obscurity.
    • 62 Metascore
    • 30 Critic Score
    Each of the album's thirteen tracks passes by without any fuss or fight; every song blending into one long blob of grey matter that leaves such little impression in spite of repeated listens.
    • 63 Metascore
    • 30 Critic Score
    Skyscraper is filled with those types of Banks lyrics, the kind of trademark brain-vomit that produces words that sound cute together but lack any semblance of cohesion.
    • 59 Metascore
    • 30 Critic Score
    It is more of the same: overproduced, generic disney channel beats by names no one knows, derivative choruses and melodies that obviously sound manufactured by a tie-wielding Atlantic executive, and lyricism that fails at even being anthemic for parties.
    • 56 Metascore
    • 20 Critic Score
    Avenged Sevenfold suffers two-fold from a dearth of genuinely good musical ideas- the infectious vocal melodies which underpin ‘Bat Country’ and ‘Sidewinder’ or the dynamic interlocking guitar lines of the latter and ‘Beast of the Harlot’- and a total absence of the critical faculties which should have allowed a small orchestral ensemble go hungry rather than become party to the madness of ‘A Little Piece of Heaven.’
    • 61 Metascore
    • 30 Critic Score
    Completely unaided by flat production and little or no deviation from one or two initial ideas, it's verging on an insult to the memory of one of punk's pioneers.
    • 59 Metascore
    • 30 Critic Score
    BE
    The two biggest problems with BE are thus; the energy that made their first LP a surprisingly decent effort has been removed completely, and Liam’s lyrics have plumbed to new, previously unassailable depths of self-parody.
    • 61 Metascore
    • 30 Critic Score
    Yours Truly, Angry Mob is such a sloppily put-together album that it almost seems intentionally bad.
    • 59 Metascore
    • 30 Critic Score
    There are almost no redeeming qualities to be found here, and the whole thing is shamelessly derivative, thoroughly lacking in any sort of creativity, and (worst of all) a logical point in Skrillex’s career arc, one which has been pointing downhill ever since 2010. Listen at your own risk.
    • 56 Metascore
    • 30 Critic Score
    Listen to the guest performances if you dare; just tune out the pedestrian rapping.
    • 66 Metascore
    • 30 Critic Score
    The biggest problem with Oh My My is that OneRepublic forsakes the few characteristics that once made them relatively unique in favor of bland, done-to-death radio pop.
    • 68 Metascore
    • 30 Critic Score
    19
    It can't even stack up to Gabriella Cilmi. Estelle? Leona Lewis? Yikes. Avoid.
    • 60 Metascore
    • 30 Critic Score
    Augustana sound bored and weather-beaten to death on their self-titled, and if this is how the true Augustana sounds, then it's fair to say that they're far and away past their prime and could consider calling it quits.
    • 52 Metascore
    • 30 Critic Score
    This misguided eagerness to please is endemic throughout the album’s 12 tracks, from the appropriation of other artists’ styles (the chunky riffing and brutish vocals of ‘Hammerhead’ are reminiscent of Dave Grohl, while closer ‘Rage And Grace’ is a transparent attempt to recreate the vitality of Green Day’s ‘American Idiot’) to Holland’s equally unrelatable lyrics.
    • 62 Metascore
    • 30 Critic Score
    Nothing is just what it brazenly titles itself as – an empty record, one lacking the sometimes questionable but more often than not intriguing experimentation and oddball weirdness that might not have made their earlier records great, but at least made them interesting.
    • 71 Metascore
    • 30 Critic Score
    Skeletal Lamping lacks a satisfactory, uh, idea. None are progressed, thoroughly provoked, just simply thrown out the speakers in hopes that we are transfixed by its oh-so literal translation of Barnes’ Georgie Fruit act.
    • 64 Metascore
    • 30 Critic Score
    Using neanderthalic rhymes that MC Hammer would be proud of, the lyrics are in your face and exclusively concern rock ‘n’ roll, girls, drinking and partying.
    • 77 Metascore
    • 30 Critic Score
    So sigh with me; for all the promise their reunion had, they sound as if they're remembering how to work together, painting their album by numbers rather than taking risks or adding artistic flourishes of their own.
    • 62 Metascore
    • 30 Critic Score
    Requiem for Hell is anything but acceptable. It's lazy, trite, mundane, dull, and every other superficial adjective that's been thrown at the genre.
    • 75 Metascore
    • 30 Critic Score
    Black Kids are trying too hard, plain and simple.
    • 47 Metascore
    • 30 Critic Score
    Revolting, messy, lazy, and undeniably Sum 41, Screaming Bloody Murder is a dead band moaning in its grave. Any highlights here more or less just belong to other, better bands, or even Sum 41 themselves from the past.
    • 52 Metascore
    • 30 Critic Score
    Comparing to what the band has done in recent years though, Siren Charms is still an unforgivable misstep containing oversights in both songwriting and execution that such a veteran band should be able to spot and correct.
    • 60 Metascore
    • 30 Critic Score
    It's too empty, too boring, too lifeless, too lazy.
    • 81 Metascore
    • 30 Critic Score
    Hayley Williams gives the first of several poor singing performances on the record [on lead single, "Low"]; the verses are toneless and she tries to cram too many words into them without really saying anything.
    • 53 Metascore
    • 30 Critic Score
    There are no surprises (other than the lyrics about cutting himself) and nothing all that redeeming to take away from the listen.
    • 56 Metascore
    • 30 Critic Score
    The London five’s debut effort is hampered by uninspired, unmemorable songwriting and a baby-proofed approach to recording and composing that ensures anything that could be described as edgy or life-affirming is, at best, lost in translation.
    • 66 Metascore
    • 30 Critic Score
    This is an empty record, and the exact opposite of what it means to write classic music, because through all its forced smiles and fake problems, it's an album that means absolutely nothing to me.
    • 55 Metascore
    • 30 Critic Score
    Not even some admittedly slick production can drag this out of the mire.
    • 45 Metascore
    • 30 Critic Score
    Any message contained within Lulu is lost in the whirl of discordant guitar work, Reed's mutterings and the complete sense of abject disappointment that surrounds the entire album.