Spin Cycle's Scores

  • Music
For 99 reviews, this publication has graded:
  • 51% higher than the average critic
  • 1% same as the average critic
  • 48% 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: 70
Highest review score: 100 Motherland
Lowest review score: 25 Song Yet To Be Sung
Score distribution:
  1. Positive: 71 out of 99
  2. Negative: 5 out of 99
99 music reviews
    • 78 Metascore
    • 75 Critic Score
    Suggests Kraftwerk crashing a party at the Playboy Mansion.
    • 68 Metascore
    • 75 Critic Score
    Though it's no "Bloodletting," it does make for a satisfying reminder of that masterpiece.
    • 72 Metascore
    • 63 Critic Score
    The band, while heavy on charm, is light in its ability to demonstrate any diversity in its songs.
    • 54 Metascore
    • 75 Critic Score
    Unfortunately, the record is burdened by a pretentious, overarching narrative about "the Wise One" and his struggle with "the Banished Ones."
    • 79 Metascore
    • 100 Critic Score
    Track after solid track, "Motherland" is a collection of pure, soulful offerings.
    • 53 Metascore
    • 38 Critic Score
    She keeps shifting gears in an ill-advised attempt to please too broad an audience.
    • 69 Metascore
    • 75 Critic Score
    As always, Kravitz infuses his rock with enough funk to get you moving, and his catchy choruses will echo in your head long after the album ends.
    • 51 Metascore
    • 50 Critic Score
    Halfway through the album, Michael ruins the good mood with a seemingly endless run of soggy, would-be anthems and self-pitying celebrity complaints.
    • 63 Metascore
    • 63 Critic Score
    The album may not break much new ground, but the band's performance is more dynamic than on previous releases.
    • 73 Metascore
    • 63 Critic Score
    "Cuttin' Heads" isn't covering much new ground.
    • 72 Metascore
    • 88 Critic Score
    Demonstrates a virility missing from [1993's "Republic"].
    • 91 Metascore
    • 88 Critic Score
    Hype for the Strokes is well deserved--it's hard to imagine a more vital American rock band.
    • 75 Metascore
    • 50 Critic Score
    The admittedly catchy, three-chord pop structure isn't as effective as in previous DCFC releases--as a basic approach, it seems more thoughtless than deliberately anaesthetizing this time.
    • 69 Metascore
    • 50 Critic Score
    This time around, the Garbage tradition of borrowing from all over the map has produced unfocused and derivative results.
    • 78 Metascore
    • 88 Critic Score
    "Gold" proves that Ryan Adams is capable of blending a myriad of styles and influences.
    • 74 Metascore
    • 88 Critic Score
    Pierce enhances his trademark electro-scapes with rich gospel choruses and grand orchestral flourishes for operatic effect.
    • 71 Metascore
    • 75 Critic Score
    A platter of hot-buttered R&B popcorn, liberally sprinkled with salty social critique, "The Id" finds Gray getting disco-freaky while instigating her "Sexual Revolution," and playfully rapping about her kids with Slick Rick on the funky burner "Hey Young World II."
    • 65 Metascore
    • 88 Critic Score
    "Strange Little Girls" is not a pretty album, but that's the point: the ugliness of male-female relations, which she exposes bit by bit with each cover, is a fact that is--in both pop music and pop culture--all too often ignored.
    • 93 Metascore
    • 88 Critic Score
    It doesn't really break any new ground, but that's not the point. This record is about Dylan cutting loose and celebrating the richness of American music.
    • 80 Metascore
    • 88 Critic Score
    Slayer remains an elemental metal band, continuing to surge on something high-grade and uncut.
    • 81 Metascore
    • 63 Critic Score
    Ultimately, the record is kept from wonderfulness by too much drowsy material--it lacks [Neil] Young's screwball conviction or the hallucinogenic intensity of the VU.
    • 77 Metascore
    • 100 Critic Score
    Pulling it all together is her beautifully rough voice, which has grown more precise without losing any of its raw, bluesy power.
    • 88 Metascore
    • 88 Critic Score
    The most introspective and slow-tempo collection in Björk's catalog, "Vespertine" proves to be a rousing showcase of her captivating vocal talent.
    • 65 Metascore
    • 88 Critic Score
    But, to get right down to it, "Celebrity" is fun, like its predecessors.
    • 70 Metascore
    • 63 Critic Score
    Just as little has changed on the radio front, so has Cake stuck with its market-proven formula on "Comfort Eagle."
    • 60 Metascore
    • 25 Critic Score
    The disappointing result is mostly a collection of thin-sounding electronic drum beats and trippy effects that, were it not for Farrell's vocal accompaniment, would be altogether forgettable.
    • 76 Metascore
    • 75 Critic Score
    When it clicks, "Aaliyah" transforms the confusion of young adulthood into exhilarating freedom
    • 77 Metascore
    • 88 Critic Score
    The quartet has cooled its eclectic babbling, and "Hot Shots II" whirrs and purrs like a gleeming silver sports car.
    • 80 Metascore
    • 75 Critic Score
    Songwriter Doug Martsch again succeeds in striking an impressive balance between guitar-saturated bombast and impeccable melodic taste.
    • 73 Metascore
    • 38 Critic Score
    Anyone hoping Etheridge has channeled her recent ups and downs into anything resembling vital rock and roll will be disappointed. Instead, she's sticking closer to the middle of the road than ever before.