Spin's Scores

  • Music
For 4,305 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 2.5 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Score distribution:
4305 music reviews
    • 71 Metascore
    • 70 Critic Score
    How scary/ridiculous the lyrics are is a matter of personal taste (or lack thereof), but it'd help if the production were more Scandinavian and less like, well, the Rocket from the Crypt rip-off band that singer/guitarist J.D. Cronise was in before he devoted his life to "Paranoid."
    • 80 Metascore
    • 60 Critic Score
    On their third album, this San Francisco–based, Mark Kozelek–led bunch stumble over saccharine set-opener "Lost Verses" (which channels icky Young wannabes America with less success than Midlake) en route to a beautifully depressing array of funereal folk.
    • 63 Metascore
    • 40 Critic Score
    Unfortunately, despite now working with David Bowie producer Tony Visconti, who infuses their angular, system-smashing screeds with timpani ("Good and Ready"), brass ("Shadow of the Dead"), and harmonica ("Go West"), Anti-Flag still don't possess the innate pop sensibility that's allowed Against Me! to make a mainstream move.
    • 68 Metascore
    • 70 Critic Score
    Their second B-sides compilation is a clear reflection of that indeliable good cheer. {May 2008, p.94]
    • 64 Metascore
    • 70 Critic Score
    They refresh all their tricks, with stripped-down, energetic guitar plus little electronics. [Apr 2008, p.92]
    • 70 Metascore
    • 80 Critic Score
    Pretty.Odd lives up to its title because it dares to be optimistically beautiful at a time when sadness and ugliness might have won them easier credibility. [Apr 2008, p.92]
    • 75 Metascore
    • 60 Critic Score
    But too often, the Raconteurs' love of twisty, monolithic rock gives way to bombast that teeters between homage and parody.
    • 69 Metascore
    • 60 Critic Score
    The Montreal group has never sounded so desperate or epic as on their fifth album's four earth-scorching, quarter-hour compositions.
    • 70 Metascore
    • 50 Critic Score
    Get Awkward's forced rhymes and attitude sound almost calculated. [Apr 2008, p.92]
    • 76 Metascore
    • 70 Critic Score
    These New Puritans prove the model perfected by New Order ain't dying anytime soon. {Apr 2008, p.106]
    • 75 Metascore
    • 70 Critic Score
    The duo's relentless cool never quite tips over into White Stripes-style heat, giving Midnight Boom the unapproachable, icy allure of a runway model. [Mar 2008, p.104]
    • 78 Metascore
    • 80 Critic Score
    On Destroyer's eight album, Bejar lives up to his stratospheric self-regard. [Apr 2008, p.94]
    • Spin
    • 78 Metascore
    • 80 Critic Score
    A sultry brew of Gypsy, Mexican, and pop ingredients that's adorably silly and unexpectedly moving. [Mar 2008, p.100]
    • 80 Metascore
    • 60 Critic Score
    When they ease back on the overdriven electronic intensity, Street Horrsing works tribal, tracelike wonders. [Apr 2008, p.98]
    • 64 Metascore
    • 60 Critic Score
    Reality Check vacillates between Serge Gainsbourg's slutty cool and Jonathan's Richman's childlike poignance. [Apr 2008, p.106]
    • 79 Metascore
    • 60 Critic Score
    The duo's tinny new-wave pop is spot-on. [May 2008, p.104]
    • 76 Metascore
    • 60 Critic Score
    The Odd Couple is basically a more refined "St. Elsewhere," without the rap aberrations or goofy covers that made the debut such a wild, bumpy ride. [Apr 2008, p.91]
    • 76 Metascore
    • 70 Critic Score
    Both seem to be having a blast acting out their fantasies,, which makes Volume One consistent fun. [Apr 2008, p.102]
    • Spin
    • 73 Metascore
    • 70 Critic Score
    Kath's hooky charms ease the ferocity of singer Alice Glass' panting wails and loopy, sarcastic screams. [Apr 2008, p.94]
    • 60 Metascore
    • 50 Critic Score
    The erstwhile Moldy Peaches wears out his welcome at 20 tracks, each one unrelated to the last and haphazardly abandoned around the one-and-a-half minute mark. [Apr 2008, p.98]
    • 83 Metascore
    • 80 Critic Score
    The seven minute thriller 'Joe's Waltz' demonstrates their flair for balancing craftmanship and raw emotion. [Apr 2008, p.96]
    • Spin
    • 76 Metascore
    • 70 Critic Score
    Laced with bariny raps, cooing backing vocals, and a keen attention to meloncholy melodic detail, Why? almost one-ups those heady precursors [Fountains of Wayne, Rentals]. [Apr 2008, p.106]
    • 72 Metascore
    • 70 Critic Score
    That astounding guitar mastery is still evident, but Dreaming seems more interested in evoking deeper moods than showing off. [Mar 2008, p.104]
    • 69 Metascore
    • 70 Critic Score
    The beats are subtle, but solid, better suited to a small, late-night party than a major disturbance. [Mar 2008, p.104]
    • 79 Metascore
    • 70 Critic Score
    His best in more than 30 years, he teams up with members of Ladybug Transistor, Teenage Fanclub, and others for songs heavy on rememberance but energized with chin-up horns and strings that'll sound fresh to fans of the Decemberists and Arcade Fire. [Apr 2008, p.92]
    • 71 Metascore
    • 60 Critic Score
    These impressionistic songs shudder to life under the weight of passive-agressive feedback, anchored by Bouzulich's melodramatic howl and Tara Barnes' menancing bass. [Apr 2008, p.96]
    • 76 Metascore
    • 70 Critic Score
    The British trio's caffinated, smart-ass guitar pop only underscores that aura of snarky confidence. [May 2008, p.111]
    • 68 Metascore
    • 70 Critic Score
    A tastefully matured Bauhaus produce enough fractured guitar and howling melodrama to wake the undead.
    • 61 Metascore
    • 50 Critic Score
    In those rare moments when they're truely wired, Texas' odd couple bring quirky soul to the music of machines. {mar 2008, p.102]
    • 76 Metascore
    • 60 Critic Score
    Trash has its moments. [Mar 2008, p.106]