Sputnikmusic's Scores

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For 2,596 reviews, this publication has graded:
  • 53% higher than the average critic
  • 2% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 1.2 points lower than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 Exit
Lowest review score: 10 The Path of Totality
Score distribution:
  1. Positive: 1,936 out of 2596
  2. Mixed: 572 out of 2596
  3. Negative: 88 out of 2596
2596 music reviews
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    • 76 Metascore
    • 80 Critic Score
    Malibu Ken
    When the last few tracks roll around, it becomes clear that Tobacco and Aes are sticking with the same formula for the album’s duration. Tobacco will gradually layer more variously-filtered keys, Aes will find something to chant for the chorus, and then some distorted vocals will close the track out. Two albums of this might get tiring, but for 34 minutes, it works perfectly despite the predictability.
    • 76 Metascore
    • 92 Critic Score
    Tape Deck Heart
    This is much more of a traditional rock record than anything else Frank has done, and that’s a good thing because it means that it’s probably the most consistent album he’s made.
    • 76 Metascore
    • 82 Critic Score
    Immunity
    For all intents and purposes Clairo’s debut album, Immunity proves to be everything that people who’ve watched her ascent could hope for. She has set the stage to dominate her own slice of the forlorn indie-pop niche, alongside peers like Baker, Heynderickx, and Soccery Mommy.
    • 76 Metascore
    • 70 Critic Score
    I'm Going Away
    I’m Going Away finds the band embellishing on their debut, the criminally underrated "Gallowsbird’s Bark," which also found the band at their most melodic.
    • 76 Metascore
    • 58 Critic Score
    Ghost on Ghost
    It may be palatable and generally inoffensive on a whole, but Ghost on Ghost really goes down best when viewed as a supplement to other better, more transcendent material already out there.
    • 76 Metascore
    • 78 Critic Score
    ARIZONA BABY
    ARIZONA BABY is Kevin's most diverse album yet in production, veering from Southern-tinged slappers to euphoric rushes of R&B to more Blond(e)-inspired meanderings, but an emotional vulnerability that follows on from "MARCH" and the like pulls these disparate songs together into something more.
    • 76 Metascore
    • 50 Critic Score
    End of Suffering
    In the end, what you’re left with is a generic rock album with a couple of noteworthy moments and an aftertaste that will probably alienate a few long-time fans of the band.
    • 76 Metascore
    • 90 Critic Score
    Integrity Blues
    The dreamy sensation and emotional relevance of Futures is apparent here, and the catchier tracks (especially the designated singles) sound as natural as they ever have, at least since Chase This Light.
    • 76 Metascore
    • 80 Critic Score
    Hello Sadness
    There are instrumental bridges on this album that seem, blissfully, to go on forever, leading perfectly into the next song.
    • 76 Metascore
    • 70 Critic Score
    Dangerous Woman
    She appears to be in the right place creatively, but she just needs to take her own advice and break free.
    • 76 Metascore
    • 74 Critic Score
    The Off-Season
    His performance on The Off-Season will have hip-hop oldheads smiling, nodding, reminiscing on days of old. ... The lack of any poignant through-line either sonically or thematically will have bespectacled journalists shaking their heads and talking about how Kendrick does it better.
    • 76 Metascore
    • 90 Critic Score
    Say Anything
    Pretty much, Say Anything offers more for fans and opens up the Say Anything sound for new ‘users’ to come and enjoy. It’s the perfect balance of a step forward and a redaction to a more “safe” sound.
    • 76 Metascore
    • 80 Critic Score
    Native Speaker
    Because this album sticks so memorably, so unwaveringly brightly, it's useless to resist it. The only thing to do is love, and so I do.
    • 76 Metascore
    • 82 Critic Score
    Queen of Golden Dogs
    A non-household album by an oft-overlooked electronic artist/producer, Queen of Golden Dogs is an intriguing, mysteriously intelligent dark horse of a record. Fans of broader electronic/experimental pieces, prepare to be delighted in the delirious lunacy of Vessel’s apex-to-date.
    • 76 Metascore
    • 90 Critic Score
    Shelter
    It is the soundtrack to every want and desire, and every wish and memory--but most of all, it is simply beautiful.
    • 76 Metascore
    • 80 Critic Score
    Farm
    Even though Farm may be the album we (should have) expected from Dinosaur Jr., it is still an excellent record that offers a variety of different qualities, while remaining as much fun to listen to as they have ever been.
    • 76 Metascore
    • 40 Critic Score
    By The Throat
    Not much is worth listening to here; the record's second half saves the abysmal first, yet never approaches the greatness they're capable of.
    • 76 Metascore
    • 70 Critic Score
    Melanie C
    Overall, Melanie C is just good ol’ fun that does exactly what it says on the tin, and occasionally unearths moments of greatness like “End of Everything” and “Who I Am” which elevate the album into more memorable pastures.
    • 76 Metascore
    • 80 Critic Score
    Alopecia
    Alopecia stands out as an interesting little album.
    • 76 Metascore
    • 80 Critic Score
    Gossamer
    Gossamer is huge, bombastic, and all over the place, spraying synths and outsized choruses like confetti over some deranged future-pop festival.
    • 76 Metascore
    • 90 Critic Score
    Owl John
    Gorgeous melodies are painted across a variety of instrumental backgrounds, forming an ideal blend of his more traditional emotionally-charged ballads and bolder, more unfamiliar pieces.
    • 76 Metascore
    • 50 Critic Score
    Watch the Throne
    The music itself isn't really the issue. It's the conceit, the fact that even though Kanye and Jay-Z truthfully are nailing what pop can sound like, they use their royal stature not to communicate fresh ideas but pander to their subjects because they f*cking can.
    • 76 Metascore
    • 86 Critic Score
    1989
    What truly puts Swift’s fifth full-length in its own class is the combination of brilliant songwriting and incredible production. Those two strengths come together throughout 1989, but no track showcases it better than “Out of the Woods.”
    • 76 Metascore
    • 40 Critic Score
    Lay Down The Law
    They’ve crafted a record that feels more like imitation than originality.
    • 76 Metascore
    • 70 Critic Score
    Weapon
    Weapon is the sound of a band that still has something to say, but delivered with a comfort level commensurate with their thirty years of existence.
    • 76 Metascore
    • 60 Critic Score
    Mudboy
    There isn’t enough content in Mudboy to make it much other than a vibe. There are traces of A$AP Ferg, Waka Flocka Flame, and OG Maco locked beneath its consistently muddy sound. But there isn’t enough nuance or ‘moments’ to make it worth repeated listens (like Sheck’s mentor, Travis Scott).
    • 76 Metascore
    • 78 Critic Score
    Heavy Rocks [2022]
    There’s greatness all over this thing, and the way in which Boris stop just short of seeing the whole thing off in style can’t help but scan as unnecessary and frustrating. Did Heavy Rocks (2022) need to be a triumph for rambunctious heavy rocking glory at the minor but palpable expense of quality control? Bah. Shou ga nai; Boris is Boris.
    • 76 Metascore
    • 60 Critic Score
    The Odd Couple
    On the whole, The Odd Couple has a much more unified atmosphere, but in quality the album is sporadic and unpredictable.
    • 76 Metascore
    • 74 Critic Score
    Holy Fire
    Ultimately, though, the bulk of Holy Fire is another sterling addition to Foals’ repertoire, and the band knows it too.
    • 76 Metascore
    • 78 Critic Score
    Tranquility Base Hotel + Casino
    The band are in fine form even as they step out of the spotlight, with synthesisers, organs, baritone guitar and other textural touches constantly hovering in the periphery. With no crunchy guitars to fill up the mix, O'Malley's basswork is the best it's ever been, anchoring all this sci-fi nonsense to something both earthly and indisputably funky. Discerning in all this where the space-age future rockstar ends and Alex Turner begins is a head-spinning task, fiction and real intertwined along knotty mobius strips of melodies which resolutely avoid radio hooks.
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