The Guardian's Scores

  • Music
For 3,247 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 Album
Lowest review score: 10 Unpredictable
Score distribution:
3,247 music reviews
    • 70 Metascore
    • 80 Critic Score
    Vocally weaving and ducking, they drag up memories of Voice of the Beehive, or a Siamese version of Susannah Hoffs from the Bangles. What stops them becoming an annoying pop hydra is their unadorned directness and sharp pop hooks.
    • 71 Metascore
    • 80 Critic Score
    He sets tales of sexual double dealing and domestic violence to a sound somewhere between the two albums he made in 1986: the Americana of King Of America meeting the over-amplified rawness of Blood and Chocolate.
    • 80 Metascore
    • 80 Critic Score
    A step on from Up the Bracket, this album is a winningly idiosyncratic explosion of dizzy pop and punk fury that could yet be honed to perfection.
    • 76 Metascore
    • 80 Critic Score
    The first seven tracks are nearly flawless, and the occasional wobble thereafter doesn't mar one of the year's most scintillating debuts.
    • 74 Metascore
    • 80 Critic Score
    Luna still sound as if they could go on forever, making the same limited but lovely palette seem fresh.
    • 70 Metascore
    • 80 Critic Score
    If this record has a problem, it's that it may be too cute for its own good.
    • 74 Metascore
    • 80 Critic Score
    Eyebrow-raising in print, they sound gripping here because of Andrews' glorious dagger-through-honey vocals, which combine with occasional strings and his band's raw passion to produce a corking debut.
    • 85 Metascore
    • 80 Critic Score
    It is hardly user-friendly, but Bubblegum is too good an album to languish in the margins. There is something thrilling in its unpredictable lurches between darkness and light, noise and melody. In every sense, Bubblegum is a staggering record.
    • 79 Metascore
    • 80 Critic Score
    How to Dismantle an Atomic Bomb may be unadventurous and melodramatic, but it is packed with disarming moments.
    • 71 Metascore
    • 80 Critic Score
    This new album picks up exactly where the Kings left off, with warm melodies and exquisitely detailed ruminations.
    • 70 Metascore
    • 80 Critic Score
    Eighteen songs, is perhaps two too many, but a hint of over enthusiasm cannot mar what feels like a tour de force.
    • 74 Metascore
    • 80 Critic Score
    Ignore the lyric booklet and you have one of the more impressive albums of 2004.
    • 65 Metascore
    • 80 Critic Score
    This is how the Stone Roses' Second Coming could have - should have - sounded.
    • 62 Metascore
    • 80 Critic Score
    Some of these treatments verge on the visionary.
    • 80 Metascore
    • 80 Critic Score
    O
    Rice's personality and deft songwriting hoist him above the mass of bedsit mumblers.
    • 80 Metascore
    • 80 Critic Score
    Although Nasir Jones can't match arch-enemy Jay-Z's commercial firepower, he has accomplished one thing even Beyoncé's beau couldn't: a persuasive double album.
    • 86 Metascore
    • 80 Critic Score
    Though it sags a bit over the course of 72 minutes, the effect is that of being sung to privately by a vocalist who has mastered the art of intimacy.
    • 65 Metascore
    • 80 Critic Score
    The electronics of Gran Turismo has been supplanted by an organic sound with countryish overtones (see Live and Learn) that suits Persson's melancholy lyrics.
    • 79 Metascore
    • 80 Critic Score
    An album that shimmers in unexpected places, is never predictable, and should set the Dears up to be major contenders in 2005.
    • 81 Metascore
    • 80 Critic Score
    [An] intensely enjoyable record, which plays like a singles collection.
    • 97 Metascore
    • 80 Critic Score
    Despite the hype, it is hard not to be impressed with the new Smile.... The music flows beautifully - no mean feat when it encompasses barbershop singing, acid rock, early pop, Hawaiian chanting and mock-religious plainsong.
    • 84 Metascore
    • 80 Critic Score
    [Singer Guy] McKnight's baritone, which could earn him a packet doing horror movie voiceovers, injects melodrama into songs already drowning in it.
    • 76 Metascore
    • 80 Critic Score
    Nirvana's feat of moulding indie-band attitude, heavy metal, post-industrial noise and classic pop into an intense incandescent eruption has now been analysed to death. To rip away the posthumous repackaging and expose the band's raw nerve-endings is an amazing feat.
    • 72 Metascore
    • 80 Critic Score
    Sensibly, Burgess has abandoned the curious falsetto of 2001's Wonderland in favour of his trademark (or Ian Brown's trademark) nasal whine, while the band have responded with some of their finest rollicking grooves.
    • 85 Metascore
    • 80 Critic Score
    Lyrically, he's never been better.
    • 71 Metascore
    • 80 Critic Score
    It shows the Chemical Brothers, unlike their peers, are capable of adapting and surviving.
    • 82 Metascore
    • 80 Critic Score
    When The Great Destroyer rocks, it rocks with passion, rigour and an unmistakable but enormously dignified rage.
    • 76 Metascore
    • 80 Critic Score
    There's great beauty here, but, as with The Secret Migration's horrid sleeve, the sense that things have been pared down slightly too far suggests Mercury Rev still suffer from an inability to tell indulgence and exploration apart.
    • 84 Metascore
    • 80 Critic Score
    Might well be Holmes' best.
    • 88 Metascore
    • 80 Critic Score
    Majestic while confronting his mortal fears on the gospel-hued Hope There's Someone, childlike and life-affirming on For Today I Am a Boy, he is never less than a class act.