Sputnikmusic's Scores

  • Music
For 1,284 reviews, this publication has graded:
  • 53% higher than the average critic
  • 1% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 2.4 points lower than other critics. (0-100 point scale)
Average Music review score: 69
Highest review score: 100 The Golden Echo
Lowest review score: 10 The Path of Totality
Score distribution:
1,284 music reviews
    • 61 Metascore
    • 30 Critic Score
    Yours Truly, Angry Mob is such a sloppily put-together album that it almost seems intentionally bad.
    • 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.
    • 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.
    • 60 Metascore
    • 30 Critic Score
    It's too empty, too boring, too lifeless, too lazy.
    • 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.’
    • 68 Metascore
    • 30 Critic Score
    19
    It can't even stack up to Gabriella Cilmi. Estelle? Leona Lewis? Yikes. Avoid.
    • 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.
    • 75 Metascore
    • 30 Critic Score
    Black Kids are trying too hard, plain and simple.
    • 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.
    • 51 Metascore
    • 30 Critic Score
    Like "Red Carpet Massacre," The Block is proof that it requires more than the best producers and songwriters to make good pop music
    • 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.
    • 50 Metascore
    • 30 Critic Score
    The New Game signifies Mudvayne's transition from elite metal juggernaut to their inevitable fade into obscurity.
    • 53 Metascore
    • 30 Critic Score
    Universal Mind Control is offensively bad.
    • 56 Metascore
    • 30 Critic Score
    Listen to the guest performances if you dare; just tune out the pedestrian rapping.
    • 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.
    • 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.
    • 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.
    • 65 Metascore
    • 30 Critic Score
    It's just we know there's more to this guy than this sluggish, lifeless material.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 74 Metascore
    • 30 Critic Score
    It's just a sludgy, grumpy record from a band who once knew pop music needed whimsy.
    • 60 Metascore
    • 30 Critic Score
    Is it a question of [Moore]simply not caring, or does he actually believe that his fans are too stupid to not realize any clear lack of progression and that they're simply being force-fed the same half-assed bass trends again and again and again?
    • 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.
    • 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.
    • 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.
    • 55 Metascore
    • 30 Critic Score
    Not even some admittedly slick production can drag this out of the mire.
    • 68 Metascore
    • 30 Critic Score
    With its terrible lyrics, uninspired and generic music and general sense of boredom, the only positive to glean from the wreckage was at least it couldn't get worse.