Sputnikmusic's Scores

  • Music
For 1,286 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 Old
Lowest review score: 10 The Path of Totality
Score distribution:
1,286 music reviews
    • 71 Metascore
    • 90 Critic Score
    Broken Bells is the crown jewel of each musician's discography and is a necessity for fans of either one.
    • 67 Metascore
    • 90 Critic Score
    By all means engage yourself in Tomorrow, In a Year, for the prize at the end is one of the essential experiences of the young year. Just understand the scope of the expedition you’re embarking upon before you go.
    • 82 Metascore
    • 90 Critic Score
    Option Paralysis equivocates the maturation of musical ideas over the Dillinger Escape Plan's storied career, as Miss Machine and Ire Works are currently looking as mere test samples leading up to this point. In all, Option Paralysis is a work of art, but don't think for a second they've gone soft on us.
    • 79 Metascore
    • 90 Critic Score
    He trumps his incredible debut in every way without resorting to drastic tactics in order to avoid some sophomore slump, instead subtly perfecting his approach to great effect.
    • 83 Metascore
    • 90 Critic Score
    The entirety of Blue Sky Noise blows away anything else that Circa Survive have ever done. It is immense, it is challenging, and it will make fools out of those who doubt it.
    • 78 Metascore
    • 90 Critic Score
    It may not be an especially immediate album, and is definitely not one which can be listened to as background music for fifty minutes, but its slow-burning qualities turn what initially may seem a little messy, into a satisfyingly cohesive release.
    • 91 Metascore
    • 90 Critic Score
    The Archandroid is everything her fans had been hoping for and then some; Monae has earned her place at the forefront of black music in 2010. This ballsy, funky, and furiously intelligent album is pop as everybody wishes it would be.
    • 90 Metascore
    • 90 Critic Score
    Freed from the aesthetic demands of an odd-couple partnership, Big Boi (Antwan Patton) improves on the standard set with 2003's Speakerboxxx, an ostensibly solo work crystallized inside a double-album set, delivering a record that's rigidly focused and almost uniformly strong.
    • 68 Metascore
    • 90 Critic Score
    The point is that MAYA has to be taken as it comes, culture jam and all, and it's precisely at this point that it works out to be one of the most refreshing albums to hit the shelves in a long, long time.
    • 83 Metascore
    • 90 Critic Score
    Lisbon is an album from a band finally using the full palette of their talents to adapt and come out the better for it, and that's a pretty picture to behold indeed.
    • 83 Metascore
    • 90 Critic Score
    Harlem River Blues is Justin Townes Earle's crowning moment. It's relaxed without being tiresome, vintage without being gimmicky. Most importantly, it's great. The songs are great, the lyrics are great and there's not a weak song on it.
    • 81 Metascore
    • 90 Critic Score
    There's no pandering to authenticity here, no appeal to the emotion: Love Remains doesn't drag you into its world with any sort of force whatsoever so much as it places square within it, naked and indifferent.
    • 94 Metascore
    • 90 Critic Score
    It's totally different from everything he's done while still being perfectly, irrevocably Kanye.
    • 80 Metascore
    • 90 Critic Score
    Right now I'm pretty content with digging The King of Limbs as I'd dig any new record: enjoying the personality that comes from the record itself and not the name behind it. And guess what? Radiohead makes good music. As if you had any doubt.
    • 71 Metascore
    • 90 Critic Score
    It's hard to find any real faults with Eisley's latest album, The Valley.
    • 79 Metascore
    • 90 Critic Score
    So once more, the Dodos feel fresh, a little bit more thoughtful, and every bit as happy to get us tangled up in ourselves. Of course there's color to No Color. It's just this time there's black and white and grey as well- colors they've never used before.
    • 77 Metascore
    • 90 Critic Score
    John knows what he does best and that's exactly he delivers, every damn time like clockwork.
    • 80 Metascore
    • 90 Critic Score
    EP
    For its obvious melodic strengths, though, EP is a tease, slowly removing one layer at a time until its heart is revealed.
    • 82 Metascore
    • 90 Critic Score
    The ONE… doesn't feel like work for G-Side, rather it feels like a first love, a record that gives a hundred percent to garner every compliment it earns: flowing, smart, sexy, and even global to those who hear it and its grand tone.
    • 77 Metascore
    • 90 Critic Score
    Tomboy is every bit as good as it promised to be, and more.
    • 88 Metascore
    • 90 Critic Score
    By combining these previously worked on sounds in new ways Thursday have created an album that is not only new and unique, but also unmistakably their own.
    • 76 Metascore
    • 90 Critic Score
    This is good because Letlive know their strengths here, hooks and Butler, push both ahead to the front, and come out with the best eleven tracks of their career thus far, easily.
    • 86 Metascore
    • 90 Critic Score
    The entire album is a collaborative project, in that sense; yet each song acts like a personal journal entry, documenting Justin Vernon's experience back with the living, after being with the ghosts of memory for some time.
    • 77 Metascore
    • 90 Critic Score
    England Keep My Bones finally gets the combination right and stands right alongside Love, Ire and Song as one of Frank Turner's best works.
    • 72 Metascore
    • 90 Critic Score
    Listening to the joyous simplicity inherent in the album's mood, you get the feeling that love, for all its pitfalls, really is the simplest thing in the world to feel; you need only to be inside your house, the city without, the falcons overhead, the days stretching off into the future, and listen.
    • 70 Metascore
    • 90 Critic Score
    In keeping with Givers' multi-dimensional aural assault, it only makes sense that vocals would also come from multiple sources. While drummer Kirby Campbell occasionally lends a hand, it is predominantly Guarisco and Lamson who brilliantly deliver the boy/girl dynamic on show here.
    • 77 Metascore
    • 90 Critic Score
    Go Tell Fire to the Mountain and WU LYF by extension soar on how excitingly singular they are; I want nothing more than to love this, just this, forever.
    • 83 Metascore
    • 90 Critic Score
    Black Up is at first mind-bending and perhaps confusing in its production and aesthetic, making it easy to lump in with fringe rap artists cLOUDDEAD. But to do so ignores the visceral qualities of the album, both in Butler's lyrics and in the production.
    • 64 Metascore
    • 90 Critic Score
    Arrows and Anchors is a masterpiece. It takes the wonder of El Cielo, mixes it with the heavy prog of Tool, and goes all [insert Mike Patton project here] in its weirdness.
    • 82 Metascore
    • 90 Critic Score
    Slave Ambient is the work of a band making us listen for every piece of them.