Spin's Scores

  • Music
For 4,152 reviews, this publication has graded:
  • 50% higher than the average critic
  • 3% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 2.7 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 ONoffON
Lowest review score: 0 They Were Wrong, So We Drowned
Score distribution:
4152 music reviews
    • 82 Metascore
    • 80 Critic Score
    On Caution, she is still doing it better than most of her students, and sounds more comfortable than she has in quite a while.
    • 65 Metascore
    • 80 Critic Score
    All signs pointed to Shiny and Oh So Bright (full title: Shiny and Oh So Bright, Vol. 1 / LP: No Past. No Future. No Sun.) as an authoritative step back on track.
    • 59 Metascore
    • 40 Critic Score
    On Delta, the scope of Mumford & Sons’ ambition is far wider than their abilities as songwriters. The result is an hour-long slog with only a few brief realizations of their old potential before the next crescendo hits.
    • 83 Metascore
    • 80 Critic Score
    That it reads like it came from NAO’s diary points to her greatest achievement on Saturn: every song can shine as a standalone track, but they sound even better together.
    • 89 Metascore
    • 80 Critic Score
    Honey, sparkling yet subtly realized and constantly in motion, follows Robyn from the precipice of heartbreak into the club and onto the beach, and eventually toward something resembling redemption.
    • 79 Metascore
    • 70 Critic Score
    By setting its course in the equal and opposite direction of Life Without Sound, it becomes its evil twin, a still-incomplete picture of Cloud Nothings. ... Yet Last Building Burning feels like a triumphant return because there isn’t as much pressure on it to do or say anything beyond its purely utilitarian aims. It slaps, shreds, and whips ass in whatever way you see fit.
    • 83 Metascore
    • 80 Critic Score
    Dose attempts to go everywhere and do everything. Opener “None of Your Business Man” is classic Abraham ascendancy (and the perfect anthem to quit your job to). “Torch to Light” introduces the double LP’s first moment of psychedelia, a new-ish venture for the band that’s sprinkled throughout. Mascis’s contribution on “Came Down Wrong” is, unsurprisingly, fuzzy, lackadaisical indie rock. “Dose Your Dreams” is disco. “Two I’s Closed” is a Beatles ballad. “The One I Want Will Come for Me” recalls shoegaze-y Cure.
    • 63 Metascore
    • 40 Critic Score
    The problem bedeviling the first new Chic album since 1992’s Chic-ism is one of definition: What does Chic mean in 2018? To Rodgers and his collaborators, it means a Daft Punk album whose processed vocals and acoustic elements collide to abrasive effect; it means a tighter Maroon 5 album. Yet Adam & the Levines are nowhere in sight, nor indeed any major star with the exception of Craig David, Elton John, and Lady Gaga, the latter intoning the lyrics of an unwise remake of 1979’s “I Want Your Love” as if she were Minnie Mouse imitating Grace Jones.
    • 75 Metascore
    • 60 Critic Score
    If the lyrics are getting all the attention on Digital Garbage, it’s only because the music is exactly what you’d expect. Mudhoney’s sound hasn’t changed much since the early ‘90s. ... Mudhoney are comfortable with themselves to a fault.
    • 72 Metascore
    • 70 Critic Score
    What we have is an album that’s mostly pretty good. It’s certainly an improvement over Tha Carter IV--likely his least memorable album ever--but it’s also not a record that is going to reignite a second peak from Wayne, if that was the hope.
    • 89 Metascore
    • 80 Critic Score
    A lot of Chris--and a lot of the coverage around it, to be fair--can seem reductive on first glance. But Letissier is one of the most nuanced songwriters working, and an inventive arranger.
    • 93 Metascore
    • 90 Critic Score
    Noname leaves little to no room for filler on Room 25, conveying a wide breadth of compelling ideas within 35 minutes. ... Though it can require attention to detail for her words to sink in, she gives off a feeling of effortless and whimsical grace as she speaks from a place of stark honesty over live instrumentation. A complete one-of-one act who continues to grow in real time outside of the limelight, Noname makes a subtle yet strong statement for women providing alternatives to one-dimensional rap archetypes.
    • 72 Metascore
    • 50 Critic Score
    >>>
    >>> succeeds about half the time, but too often the band sounds conflicted between marching forward as the old Beak> and committing to a new direction.
    • 83 Metascore
    • 80 Critic Score
    Apart from its near-voyeuristic intimacy, Piano & A Microphone is most interesting when one imagines what this session meant to Prince at the time.
    • 82 Metascore
    • 70 Critic Score
    None of Collapse’s derailments are permanent, and this one only lasts a few seconds before the music puts itself back on track. If the EP leaves you wanting anything, it’s more malfunction, more frenzy, more extended deviations from the Aphex Twin playbook.
    • 62 Metascore
    • 40 Critic Score
    His skill is still intact, but his music lacks its former inspiration, and he only digs a deeper hole for himself by taking aim at the youth.
    • 84 Metascore
    • 90 Critic Score
    Hynes impeccably orchestrates his jazzy art-funk, resulting in the best sounding music of his solo career.
    • 87 Metascore
    • 70 Critic Score
    Be the Cowboy largely dispenses with the distortion of Mitski’s guitar-oriented recent work, getting all the fuzz out with intro track “Geyser.” What’s left are short and thwarted pop songs. (Only two are longer than three minutes.)
    • 87 Metascore
    • 80 Critic Score
    It is the best distillation yet of his tortured hustler mystique.
    • 70 Metascore
    • 50 Critic Score
    Except for standouts “Barbie Dreams,” “Good Form,” and “Chun-Li,” Queen is full of songs that Nicki has more or less done previously and in better ways. It’s not that Nicki has become a worse rapper (“Lara been Croft” jokes aside) or that the production is bad, it’s that everything here is only adequate--nothing pops, no chances are taken, and there isn’t any notable magic in these records.
    • 85 Metascore
    • 70 Critic Score
    It is his most fully realized album, but also the one that most strikingly situates Scott as secondary to his collaborators. ... For all the interesting things that can be found on Astroworld, it is still way too long and can sound so uniform that it loses your attention.
    • 71 Metascore
    • 70 Critic Score
    The tropes in YG’s songs are West Coast traditional (women, realness, threats, repeat) but there’s a combination of veteran savvy and lane mastering that refreshes the more expected moments.
    • 83 Metascore
    • 80 Critic Score
    Hive Mind remains as soulful as ever, weaving disparate sounds and textures without feeling erratic; it’s moving even at its most minimal.
    • 85 Metascore
    • 80 Critic Score
    With its intermittent clean vocals, abundant alt-rock solos, and near-constant warmth, Ordinary Corrupt Human Love qualifies as Deafheaven’s most accessible effort thus far, not to mention one of 2018’s most universally-palatable collections of heavy music.
    • 77 Metascore
    • 70 Critic Score
    If Dirty Projectors are no longer indie A-listers with the expectation of having each album provide shapeshifting genius, the upside is Lamp Lit Prose sounds like something Longstreth wanted to make rather than had to.
    • 81 Metascore
    • 50 Critic Score
    Beaty and bouncy but less meaty, Palo Santo is for now an unsatisfying follow-up to a terrific debut.
    • 75 Metascore
    • 80 Critic Score
    Since the release of Fractured Orgasm, this duo’s 2011 cassette debut, they’ve proven themselves adept at subtly but profoundly shifting the mood of whatever studios or venues they happen to be exorcising. What The Switch demonstrates is that Gordon and Nace have gotten better at being overt.
    • 90 Metascore
    • 90 Critic Score
    If it’s not Giant Steps, the album that type of casual Coltrane fan knows is A Love Supreme. Both Directions at Once isn’t definitely isn’t Supreme, but it enhances our understanding of how that group of musicians came to make it.
    • 67 Metascore
    • 60 Critic Score
    Scorpion is stronger when Drake stops narrating the circumstances of his own life and simply writes more of the breezy, cocksure songs that seem to come so effortlessly to him.
    • 73 Metascore
    • 80 Critic Score
    A record that’s more reflective and human than you’d ever expect from a band of literal cartoons.