The Guardian's Scores

  • Music
For 3,142 reviews, this publication has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 4.1 points lower than other critics. (0-100 point scale)
Average Music review score: 67
Highest review score: 100 Abattoir Blues / The Lyre Of Orpheus
Lowest review score: 10 Unpredictable
Score distribution:
3,142 music reviews
    • 82 Metascore
    • 80 Critic Score
    If at first the songs feel ordinary, perseverance reveals the haunting quality of Arthur's imagery, and the rich patina of his careworn voice.
    • 77 Metascore
    • 80 Critic Score
    Alongside gems from the back catalogue, four new songs suggest Merritt may not even have peaked.
    • 78 Metascore
    • 80 Critic Score
    There are 13 aural riots here, and every one is as catchy as a horrid disease.
    • 75 Metascore
    • 80 Critic Score
    But I Can't Stop has more to offer than a rush of nostalgia. The songwriting is largely superb, which keeps the album from sounding like a clever pastiche.
    • 86 Metascore
    • 80 Critic Score
    British Sea Power's slightly camp, wholly menacing, startlingly audacious debut is unlike anything you'll hear this year.
    • 71 Metascore
    • 80 Critic Score
    Perpetuum Mobile offers a more moving and engaging experience than you would expect from an album whose primary instrumentation involves an air compressor and a car tyre.
    • 78 Metascore
    • 80 Critic Score
    This is probably destined for the darkest recesses of the John Peel programme, but it deserves the same attention afforded to similar one-offs such as British Sea Power.
    • 73 Metascore
    • 80 Critic Score
    The hazy, semi-hallucinogenic beauty is boosted by the lo-fi, not-quite-focused home recording.
    • 75 Metascore
    • 80 Critic Score
    The lush melodic sense that deserted Air on 10000Hz Legend has returned.
    • 82 Metascore
    • 80 Critic Score
    In the tradition of all great girl-fronted punk bands, from Sleater-Kinney to Elastica, it's not what Kaito has to say, it's the way Colt sings it.
    • 63 Metascore
    • 80 Critic Score
    A great record, guilelessly cheery and knowingly witty in equal measure.
    • 78 Metascore
    • 80 Critic Score
    These are wonderful exercises in songcraft: full of metaphors, twists and punchlines, couched in sprightly string arrangements and sung with rare flamboyance.
    • 69 Metascore
    • 80 Critic Score
    Shards of Joy Division guitar crisscross punk-funk basslines and mournful electro shivers.
    • 83 Metascore
    • 80 Critic Score
    It's the voice that does it - all hazy smoke and dusty cotton, this time sounding like she's channelling Billie Holiday.
    • 73 Metascore
    • 80 Critic Score
    It's all a welcome change from dance-scene earnestness, and worth 48 minutes of anyone's time.
    • 78 Metascore
    • 80 Critic Score
    But while the scope of Immortal Memory is huge... the music is entirely accessible.
    • 77 Metascore
    • 80 Critic Score
    A great lost Blur album.
    • 68 Metascore
    • 80 Critic Score
    Even in the current climate, they sound unique.
    • 70 Metascore
    • 80 Critic Score
    The first British guitar band in a decade to lay a serious claim to the melodic guitar pop throne invented by the Byrds and the Hollies, and last occupied by the Stone Roses and the La's.
    • 75 Metascore
    • 80 Critic Score
    Over 13 tracks, not one a filler, they mix everything from punk to electro, house and disco, and end up like a delirious collision of the Specials and Basement Jaxx.
    • 63 Metascore
    • 80 Critic Score
    Ultimately, The Silent Hours is muscular, conservative rock music.
    • 83 Metascore
    • 80 Critic Score
    Rather than tinkering with tradition, he expands upon it with computer-generated hums and bleeps, tambourines and glockenspiel, warming the stark acoustic sound.
    • 75 Metascore
    • 80 Critic Score
    Amazing how this old-fangled stuff can still sound so good.
    • 79 Metascore
    • 80 Critic Score
    Chances are it'll grow on ya.
    • 77 Metascore
    • 80 Critic Score
    Finds Phillips surrounded by an authoritative squad of folk and country musicians who lend a quiet conviction to his songs.
    • 60 Metascore
    • 80 Critic Score
    On the one hand, it's a little hokey: if One Plus One Equals One tried any harder to charm you, it would turn up on your doorstep with a bottle of Fleurie and offer you a footrub. On the other, the songs are Gough's strongest in years.
    • 71 Metascore
    • 80 Critic Score
    In looking beyond pure innovation, Gomez have poured some heart into their blues.
    • 79 Metascore
    • 80 Critic Score
    An exceedingly welcome return to form.
    • 53 Metascore
    • 80 Critic Score
    The obligatory boring ballads aside, the results are astonishing.
    • 66 Metascore
    • 80 Critic Score
    Unlike previous Britney albums, In the Zone has no filler and no shoddy cover versions, just 57 varieties of blue-chip hit-factory pop.