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 Funeral
Lowest review score: 10 Unpredictable
Score distribution:
3,142 music reviews
    • 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.
    • 77 Metascore
    • 80 Critic Score
    A glorious union of Gedge's romantic past and his latter-day pursuit of lust.
    • 65 Metascore
    • 80 Critic Score
    You can delve as deeply into the lyrics and musical brain-teasers as you like, but there's plenty of surface allure for anyone who just fancies a superficial graze.
    • 78 Metascore
    • 80 Critic Score
    He has a childlike wonderment rarely glimpsed among industry-dominated modern music, but he plays this off against a frail world-weariness.
    • 88 Metascore
    • 80 Critic Score
    Shrapnel-sharp dance music that demands to be heard.
    • 68 Metascore
    • 80 Critic Score
    Their sound is back to its subtle best, all Velvet Underground rhythms and guitars swooping over gentle melodies.
    • 81 Metascore
    • 80 Critic Score
    Most of these powerful pop songs bloom to match the intensity of the feelings they lament.
    • 79 Metascore
    • 80 Critic Score
    He's as bright and breezy as Evan Dando one moment, as resplendent as Phil Spector the next, and you could pit his bubblegum choruses against 1960s classics.
    • 78 Metascore
    • 80 Critic Score
    Homme has emerged with the best songs of his career.
    • 78 Metascore
    • 80 Critic Score
    Guero's easy, confident flow makes it easy to underrate but, despite his reputation as a slacker, Beck's biggest weakness has always been trying too hard. It's good to hear him so happy in his own clothes.
    • 66 Metascore
    • 80 Critic Score
    They don't sound too new, but their shuddering pop melodies and knack for smiling through gritted teeth might just make the Bravery the nation's favourite new band.
    • 71 Metascore
    • 80 Critic Score
    If the whizz-bang pace makes Hot Hot Heat sound a bit too eager to please, then Steve Bays' lyrics give even their fizziest pop songs a pleasingly tart kick.
    • 64 Metascore
    • 80 Critic Score
    Despite its grim title with its visions of messy self-absorption, The Emancipation of Mimi is - mostly - cool, focused and urban.
    • 80 Metascore
    • 80 Critic Score
    Her songs are tough and earthy, hating mere prettiness when fieriness or forcefulness are required.