The Guardian's Scores

  • Music
For 3,203 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 points lower than other critics. (0-100 point scale)
Average Music review score: 68
Highest review score: 100 Noble Beast
Lowest review score: 10 Unpredictable
Score distribution:
3,203 music reviews
    • 76 Metascore
    • 60 Critic Score
    Clearly Olive has idiosyncrasy on his side--making it all the more disappointing that he puts it in the service of retro psychedelia that often comes across as hippy-trippy nonsense.
    • 72 Metascore
    • 60 Critic Score
    The result is a low-end-heavy collection that lends an air of mystery and menace to Hynes's tales of love and loneliness.
    • 68 Metascore
    • 60 Critic Score
    Despite all the prog allusions and big concepts, it turns out what Nero are really good at is something all the prog allusions and big concepts suggest they might disdain: pop music.
    • 67 Metascore
    • 60 Critic Score
    It's a raucous affair that mainly sticks with the jumpy dancehall/bassline sound of his first, but also includes moments of prettily soulful reflection.
    • 73 Metascore
    • 60 Critic Score
    Gilmore is always worth hearing, but this one is for completists only.
    • 63 Metascore
    • 60 Critic Score
    Business goes on essentially as usual across this collection of muscular funk-rock songs, though it falls short in the ultra-catchy-hooks department.
    • 60 Metascore
    • 60 Critic Score
    An unexpectedly toothsome debut.
    • 80 Metascore
    • 60 Critic Score
    His mellifluous style, best exemplified on Boat Cruise and Jamboree, ebbs and flows without ever letting go of the groove. A bit like Jaco Pastorius in a space suit.
    • 79 Metascore
    • 60 Critic Score
    The lo-fi arrangements are messy, too. Gospel choirs? Stadium rock riffs? Six minute folk songs in no hurry to find the nearest chorus? All feature here--not always seemlessly, but always with a certain charm.
    • 66 Metascore
    • 60 Critic Score
    What it lacks in originality it makes up for in sweet vibes, which may not keep Grouplove going for ever, but is enough for the moment.
    • 75 Metascore
    • 60 Critic Score
    There's nothing to quite match Hunter's collaboration with Jerry Garcia on Friend of the Devil, perhaps, but the surreal Tiger and the Monkey, the lazy shuffle of Jack Dempsey's Crown, and the witty, bad-tempered old-timer's song Don't Give a Hang are far more original than most bluegrass offerings.
    • 68 Metascore
    • 60 Critic Score
    The problem with creating one of the last decade's great songs--2005's Destroy Everything You Touch--is that subsequent work will always be judged against that yardstick, so despite its undeniable worth, Gravity the Seducer leaves an "if only..." in its wake.
    • 54 Metascore
    • 60 Critic Score
    Signs of change bubble under a few tracks--they've almost gone drum'n'bass on Is It Me--but the bedrock of the LP is, as ever, winsome, highly listenable harmonic pop.
    • 70 Metascore
    • 60 Critic Score
    It's performance, too, and about the dance of the music as much as words. When these align, his is a voice that sounds vital. But while Black and White is undoubtedly a relevant album to 2011, it's not always a good one.
    • 80 Metascore
    • 60 Critic Score
    It's a generic melancholy, expressed in widescreen cliches: Bondy never persuades you that it's genuinely felt.
    • 69 Metascore
    • 60 Critic Score
    Cropper's stinging guitar can't help but showboat, albeit in the classiest of ways.
    • 52 Metascore
    • 60 Critic Score
    At its least enjoyable, however, you're struck--not for the first time in Jagger's extracurricular oeuvre--by a sense of star-studded pointlessness.
    • 70 Metascore
    • 60 Critic Score
    Amos herself performs with an insistently flat calmness: when her 11-year-old daughter Natashya pops up on a few tracks, in character as a shape-shifting fox, she actually proves an odder, witchier, more compelling voice than her mother, who could be mistaken for her piano teacher.
    • 71 Metascore
    • 60 Critic Score
    For a group so in thrall to death, there's a surprising amount of life here.
    • 67 Metascore
    • 60 Critic Score
    +
    Sheeran's strength is his melodic ability, a way with a really strong, radio-friendly tune, as on The City or Grade 8. You can't help wishing he'd put said ability to slightly more edgy use.
    • 62 Metascore
    • 60 Critic Score
    It's a hit-and-miss affair.
    • 79 Metascore
    • 60 Critic Score
    Danilova's juggernaut vocals can feel relentless, but considering Zola Jesus is a deliberately poised and arty affair, a little over-reaching melodrama is hardly a surprise.
    • 72 Metascore
    • 60 Critic Score
    Too often it becomes mere background music, albeit always pleasant and sometimes even interesting.
    • 70 Metascore
    • 60 Critic Score
    Tense, brooding and often raw, the artist's world-wearied voice is cast off against a dramatic backdrop, the results not unlike a darker take on Elbow's experiment with the Hallé Orchestra.
    • 74 Metascore
    • 60 Critic Score
    Paul Gregory's crackling electronic interventions and homespun production job--listen out for the creaking floorboards in Keep on Trying--do much to roughen the edges, but not enough to give this perfect music real character.
    • 65 Metascore
    • 60 Critic Score
    Songs are taut and brief, the guitar/drum arrangements stripped to absolute basics and El Khatib squawks his lines as if his switchblade is giving him grief.
    • 61 Metascore
    • 60 Critic Score
    It's an awkward concept that might work better on stage, but Hurt is in fine form and the songs are a reminder of Sawhney's skill as a composer, and of the musical variety of multicultural Britain.
    • 77 Metascore
    • 60 Critic Score
    These tracks are so instantly memorable, so curiously familiar--and so uninspiring, despite their loveliness.
    • 65 Metascore
    • 60 Critic Score
    A lot of it just sounds like standard-issue Coldplay, replete with echoing guitars, woah-oh choruses and vocals that signify high drama by slipping into falsetto.
    • 69 Metascore
    • 60 Critic Score
    For now, it'll do that it's a more enjoyable album than Oasis' latter-day catalogue.