Sputnikmusic's Scores

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For 2,595 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: 1,935 out of 2595
  2. Mixed: 572 out of 2595
  3. Negative: 88 out of 2595
2595 music reviews
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    • 71 Metascore
    • 74 Critic Score
    Damage
    Eight albums into their career, Jimmy Eat World still know how to generate and craft some brilliant songs, but most importantly, they continue to demonstrate a keen sense for how to connect with any audience.
    • 78 Metascore
    • 58 Critic Score
    Desire Lines
    Yet even Campbell can’t save Desire Lines from coming off as creatively stagnant, just as pretty as ever but overwhelmingly pedestrian.
    • 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.
    • 64 Metascore
    • 80 Critic Score
    Our Nature
    Savoir Adore are best suited for exploring the recesses of indie-pop, noting what’s worked most successfully in the genre’s past and utilizing it to shade their brand of music as they please.
    • 82 Metascore
    • 90 Critic Score
    ...Like Clockwork
    With all its sonic diversity, consistency and precision, ...Like Clockwork is an impressive step in the right direction.
    • 70 Metascore
    • 74 Critic Score
    The Devil Put Dinosaurs Here
    At its core, The Devil Put Dinosaurs Here is a rock solid record that sees Alice In Chains settling in the confines of their own style.
    • 72 Metascore
    • 78 Critic Score
    False Idols
    False Idols has the potential to be a more accessible and instantly enjoyable album than say, Maxinquaye, but because it's not as challenging to the experienced trip-hop fan, False Idols is also vulnerable of losing some its captivating allure.
    • 62 Metascore
    • 74 Critic Score
    IV Play
    IV Play succeeds in spades with its production and songwriting.
    • 90 Metascore
    • 70 Critic Score
    Jama Ko
    Jama Ko is, for twelve of its thirteen songs, political in the best way, using a deeply focused aesthetic both to engage with and as a momentary escape from the social environment which produced it.
    • 77 Metascore
    • 70 Critic Score
    Understated
    Being able to grasp a second chance has provided Collins with real impetus, and we as listeners can only sit back and reap the rewards we can from the resulting output.
    • 76 Metascore
    • 80 Critic Score
    Obsidian
    The music is more intimate this time around, and makes for an infinitely more telling description of who Baths is.
    • 84 Metascore
    • 88 Critic Score
    Trouble Will Find Me
    Not much on this album is immediate, and that’s a little disappointing, but more than any other National work, Trouble Will Find Me hints at depths upon depths hidden beneath the surface of thirteen very pretty songs.
    • 81 Metascore
    • 78 Critic Score
    New History Warfare, Vol. 3: To See More Light
    In two albums, the man shatters our conceptions of music--and in the finale of his trilogy, he glues the pieces back together and hands the end product back to us, thereby redefining the word ‘musician’ in a single gesture.
    • 61 Metascore
    • 78 Critic Score
    Time Stays, We Go
    This record is brooding and shadows, joy and smirks, a blood-red dusk on a quiet desert evening; all emotion and sparkling instrumentation, confident of where it wants to go and even surer on how to get there.
    • 57 Metascore
    • 62 Critic Score
    Wake Up
    As with many records that share Wake Up’s exuberant qualities, the individual tracks are largely hit-or-miss.
    • 79 Metascore
    • 82 Critic Score
    One of Us Is the Killer
    One Of Us Is the Killer is the explosion all of us were hoping it’d be, and yes, lethal as ever--now it’s just easier to pick up the pieces afterwards.
    • 72 Metascore
    • 84 Critic Score
    Silver Wilkinson
    Silver Wilkinson is a more streamlined yet enjoyably disparate record.
    • 84 Metascore
    • 50 Critic Score
    Modern Vampires of the City
    As it stands, it’s just another Vampire Weekend album, except the songs are less catchy and more sterile this time around.
    • 81 Metascore
    • 78 Critic Score
    Nightmare Ending
    It’s a much more jagged experience; a patchwork as opposed to an exercise in consistency. In spite of this, or perhaps because of it, Nightmare Ending manages to be Eluvium’s most evocative and interesting work to date.
    • 70 Metascore
    • 76 Critic Score
    Everybody Loves Sausages
    It's a whimsical exercise that allows the Melvins to test their limits with an agenda that pushes them to break away from typical patterns and artifices. Yet, even as they explore what it's like to take on the personas of their influences, the Melvins still manage to sound surprisingly natural throughout.
    • 77 Metascore
    • 84 Critic Score
    The Hands That Thieve
    It’s so perfectly and lovingly written and produced, recalling everything that made you fall in love with the band and their life affirming sound to begin with.
    • 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.
    • 67 Metascore
    • 48 Critic Score
    Volume 3
    Volume Three can’t flourish under the force of her considerable personality or Ward’s craftsmanship, because the latter has been deadened and the former is unwilling to break the illusion.
    • 81 Metascore
    • 82 Critic Score
    Monomania
    Monomania demands an undivided attention and continuous play to truly see the beauty within its surrealism.
    • 68 Metascore
    • 80 Critic Score
    Lysandre
    At only 28 minutes long, Lysandre is easily digestible in a single sitting, but that really just embellishes its true purpose--to temporarily whet our appetites till all those other Christopher Owens solo records appear.
    • 71 Metascore
    • 74 Critic Score
    Home
    Home is a sometimes captivating, occasionally flawed, but always intriguing release.
    • 84 Metascore
    • 78 Critic Score
    Sister Faith
    Sister Faith may not be entirely consistent, yet in the long run it proves way more heartfelt and genuinely bruised than a typical hardcore punk offering.
    • 81 Metascore
    • 100 Critic Score
    Wheel
    I hear Wheel slightly differently every time I listen to it, but what stays the same is the overarching feeling that there is some ungraspable quality to it, something indefinable in the way these songs come together, as if multiple worlds are eclipsing each other while remaining individually visible.
    • 53 Metascore
    • 50 Critic Score
    Night Visions
    There are a lot of cosmetics present to cover up the band’s shortcomings, but not even the most epic posturing and glossy production can hide this record’s blemishes.
    • 71 Metascore
    • 80 Critic Score
    Bankrupt!
    They are heavier, and denser, and overwhelmingly less instant than their predecessors, as cloaked and finely adorned in all manner of bright, shiny synths as they are, at times almost crushed under the weight of an ambitiously flamboyant band. But these are still Phoenix songs, and by the end of a dozen listens they are as urgent as ever.
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