Sputnikmusic's Scores

  • Music
For 1,463 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 2.1 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 Holy Vacants
Lowest review score: 10 The Path of Totality
Score distribution:
1463 music reviews
    • 65 Metascore
    • 62 Critic Score
    Whatever Funk’s motivation in pumping out yet another breakcore grenade in his long line of breakcore grenades, My Love is a Bulldozer is at the very least an engaging listen--make of that what you will.
    • 86 Metascore
    • 62 Critic Score
    While often a little too unfocused, The Anthropocene Extinction is a fine addition to their catalog.
    • 72 Metascore
    • 60 Critic Score
    Bouncy bass and catchy vocals keep it going, but sometimes it seems Albert Jr. has nothing substantial to fall back on.
    • 65 Metascore
    • 60 Critic Score
    Hella is stuck in the realm of Yowie -- playing with excellent ideas, but too stuck on defining themselves with an all too familiar genre.
    • 65 Metascore
    • 60 Critic Score
    There is nothing radical or daring about the faithfully rendered tunes we find on Twelve.
    • 82 Metascore
    • 60 Critic Score
    For the first time, the band is inconsistent.
    • 61 Metascore
    • 60 Critic Score
    For all its inadequacies, Dignity is a solid, cleverly-constructed pop album.
    • 82 Metascore
    • 60 Critic Score
    Steingarten is a unique take on ambient/glitch inspired music however it’s lack of musical progression brings it down.
    • 65 Metascore
    • 60 Critic Score
    Distinguishing themselves from the shadow of Fall Out Boy, My Chemical Romance and the like without sacrificing too many of the essential elements of their debut album, The Academy Is… have emerged as a band with ambition and the songwriting skill to match.
    • 58 Metascore
    • 60 Critic Score
    'My Gun' is one of the best tracks Fifty's lent his name to; Adam Deitch and Eric Krasno's skilful production keeps the tension bubbling just below the surface with a muted hard rock guitar riff; 50's rhyme and flow is more varied and expressive than his usual monotone drawl.... The remainder of the album is as inconsistent as Fifty’s career to date.
    • 62 Metascore
    • 60 Critic Score
    As a whole, the album is a well-executed pop punk album and shows that Yellowcard are better than the average band.
    • 61 Metascore
    • 60 Critic Score
    In the end this is a nice EP to play and a timely release considering the season and what they're releasing it right before.
    • 61 Metascore
    • 60 Critic Score
    This Delicate Thing We’ve Made is undone by too much, too much, too much of everything. Too many ideas aren’t allowed to compete with each other, meaning that the bad ideas are given just as much importance as the good ones.
    • 71 Metascore
    • 60 Critic Score
    This could well have been a much better album than it is. Still, there's enough here to indicate that Nash's obvious natural flair for songwriting will blossom, and that her fearless voice will only get better with experience.
    • 74 Metascore
    • 60 Critic Score
    Harper sounds hardly inspired even in a city like Paris, and his homage to past artists sounds like cheap imitation more than anything.
    • 70 Metascore
    • 60 Critic Score
    Although it's a little inferior to Stars of CCTV, Once Upon A Time In The West is a good album, make no mistake about that.
    • 68 Metascore
    • 60 Critic Score
    As usual, Dashboard puts out an album with a couple of very good songs, and a bunch of passable filler. Recommended for fans, but still has nothing on what Dashboard used to put out.
    • 72 Metascore
    • 60 Critic Score
    Once The Black And White Album settles in, and you've figured out which songs to skip, it's as enjoyable as any of their previous albums.
    • 60 Metascore
    • 60 Critic Score
    For better or worse, it's the most predictable album of the year.
    • 83 Metascore
    • 60 Critic Score
    When the natural flow of Nas' rap elevates 'Success' to one of American Gangster's best songs, you kind of wish Nas could have just had the same idea and done the album himself. It shadows the finale of the album, even the tight, appropriately grand title-track that finds Jay-Z at his breeziest.
    • 66 Metascore
    • 60 Critic Score
    Despite the consistency--the one area in which she's improved--it's almost certainly the weakest and most irrelevant album she's produced.
    • 73 Metascore
    • 60 Critic Score
    I guess once you define hip-hop you can't really go anywhere but down, but unlike of any of the other Wu-Tang Clan albums 8 Diagrams is able to stretch itself out of the shadow of "Enter the Wu-Tang" which in itself makes this an impressive record.
    • 77 Metascore
    • 60 Critic Score
    Surprisingly, The Cool works as an album despite its many obvious flaws: the pop tracks are as good as anything from his debut, and his attempts to branch out are at least hit and miss, with exciting tracks like ‘Little Weapon’ and ‘Dumb It Down’ breaking the monotony of his soapbox moments.
    • 79 Metascore
    • 60 Critic Score
    The first three songs will undoubtedly hook any listener into continuing the album, but the listener will find nothing as impressive as that opening statement.
    • 72 Metascore
    • 60 Critic Score
    Jukebox isn’t a misstep, but it does seem like a unnecessary lull towards an album that might build on the promise of Jukebox’s best assets, the most important ones being of Chan’s own, warming design.
    • 78 Metascore
    • 60 Critic Score
    There’re a lot of fumbles here unfortunately, a couple tepid ballads, a lot of irritating goon-hop, and a couple songs that go on for far too long (though most of those fall under one of the former categories.) However, the band impress again on ‘Touch too Much’, possibly the album’s best track.
    • 77 Metascore
    • 60 Critic Score
    Though I can't say this album has as many of these killer tracks as Xiu Xiu's previous albums, Women as Lovers is a satisfying installment for fans of Xiu Xiu's singular style.
    • 64 Metascore
    • 60 Critic Score
    While at times angrier and more energetic than Death Cab for Cutie, many songs could be (and are) B-sides of "Plans" or "Transatlanticism."
    • 73 Metascore
    • 60 Critic Score
    The album truly is beautiful within its down tempo setting, and as a soundtrack for the morning after, there’s nothing quite like keeping the lights off and the volume low and simply letting Devotion get you through the day.
    • 70 Metascore
    • 60 Critic Score
    Get Awkward, as an album, is a step up, and it certainly has highs and lows, but what I’m really missing here are things like "Bicycle Bicycle, You Are My Bicycle" or even “October, First Account,” songs that really stick out.