The Guardian's Scores

  • Music
For 3,295 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 3.9 points lower than other critics. (0-100 point scale)
Average Music review score: 68
Highest review score: 100 Channel Orange
Lowest review score: 10 Unpredictable
Score distribution:
3,295 music reviews
    • 65 Metascore
    • 60 Critic Score
    It's an album that impresses rather than excites.
    • 75 Metascore
    • 60 Critic Score
    I Bet on Sky offers no variations on the grand theme, but pleasures in the detail.
    • 67 Metascore
    • 60 Critic Score
    Their 11th album is a peculiar listen. Half of it harks back to 1990's reflective masterpiece, Behaviour, with songs about ageing (Invisible) and escape (Breathing Space) exerting poignant pulls... The other half, however, feels bitter and flippant.
    • 72 Metascore
    • 60 Critic Score
    The Carpenter isn't a total dud, because the Avetts are so skilled with a melody, but the plain-speaking has turned to clunkiness.
    • 78 Metascore
    • 60 Critic Score
    There's nothing here that we haven't heard many times before, but for many that will be the heart of their appeal.
    • 64 Metascore
    • 60 Critic Score
    You struggle to find the energy till the third or fourth listen, when Heart of a Girl and From Here on Out reveal themselves to be the sweetest, most sincere explorations of a kind of US rock that will always raise hairs on the necks of those who like this sort of thing.
    • 57 Metascore
    • 60 Critic Score
    There's a fair bit of "positivity" gloop, such as Believers (Arab Spring), but not enough to ruin a decent album.
    • 66 Metascore
    • 60 Critic Score
    As a whole, Breakthrough can be powerful and hypnotic, but does feels a little familiar by now.
    • 80 Metascore
    • 60 Critic Score
    It's mellifluous and clear in its delivery, but this points up Ali's limitations at the same time; the inflexibility of his style and the limits of his vocabulary.
    • 67 Metascore
    • 60 Critic Score
    The spiky threesome have made a very decent fist of sounding like their twentysomething selves.
    • 63 Metascore
    • 60 Critic Score
    Essentially it's a honing of their 2009 debut, Sigh No More, but with more of the ferocity you encounter in their live show.
    • 74 Metascore
    • 60 Critic Score
    [Efterklang] glisten on the restless, bass-led groove of The Ghost and rack up the tension on a nourish Black Summer. Their eclectic style, however, demands space to breathe, and shorter songs, like The Living Layer and Dreams Today, which starts as a sprint but ends up puffed out, are left wanting.
    • 48 Metascore
    • 60 Critic Score
    Tracks as sugar-coated and high-pitched as Won't Stop and Dream Girl are capable of producing gastric fireworks. And that's without mentioning the secondary cliches, the choral "eh ohs", the plaintive choruses, and, naturally, the Auto-Tune.
    • 66 Metascore
    • 60 Critic Score
    The atmosphere is eerie rather than unsettling.
    • 72 Metascore
    • 60 Critic Score
    [Oh No I Love You presents] an appealing synthesis, particularly on Tobacco Fields, in which every instrument, and Burgess's unusually delicate voice, shiver between melancholy and joy.
    • 61 Metascore
    • 60 Critic Score
    As a comeback, this is nice work.
    • 83 Metascore
    • 60 Critic Score
    FlyLo's albums tend to be slight, and this is no exception: these tracks feel less like fully fleshed-out compositions than lightly drawn sketches started, but not always finished, from a spontaneous jam session.
    • 75 Metascore
    • 60 Critic Score
    Ideal for late-night listening or meditation.
    • 69 Metascore
    • 60 Critic Score
    The main flaw of Halcyon is that it occasionally feels a bit too much.
    • 64 Metascore
    • 60 Critic Score
    The album sounds weirdly uniform, the over-similarity perhaps the result of avoiding choruses in favour of repetitive mantras.
    • 80 Metascore
    • 60 Critic Score
    Twins does what it does brilliantly – but Segall makes it sound so effortless, you keep getting snagged on its limitations.
    • 62 Metascore
    • 60 Critic Score
    Trimble's contention that Beacon "takes us one step closer to the band we've dreamed of becoming" suggests a work in progress.
    • 80 Metascore
    • 60 Critic Score
    There's an attractive openness to the album, with no sense of contrivance: he's singing about what he knows. Once he knows a little more, you get the sense he might manage something truly memorable.
    • 66 Metascore
    • 60 Critic Score
    It's hard to shake the feeling, though, that it's all a bit self-indulgent. These rewrites, though confident, are as much a curiosity as anything else, more an exercise in shape and form than an improvement.
    • 81 Metascore
    • 60 Critic Score
    2
    An album that never quite delivers, largely because it's so unvarying in tone... Yet it manages to sound refreshing.
    • 67 Metascore
    • 60 Critic Score
    Like ZZ Top and Rush before them, Kiss seem to have finally rediscovered (after their stodgy 2010 comeback album, Sonic Boom) what made them so great in the first place.
    • 60 Metascore
    • 60 Critic Score
    Granted, much of the record is still given over to quaking ballads like Fingerprint--an area where Adele now has the advantage--but several tracks demand attention.
    • 73 Metascore
    • 60 Critic Score
    It's all very respectful--the attention to period detail sees them drop in a none-more-65 bossa nova instrumental--and all very pleasant. But there's no single killer song, no moment where they add anything to their borrowings to make you sit up and take notice.
    • 76 Metascore
    • 60 Critic Score
    There's airy, hilltop drama in the synths and piano that nestle behind the guitars, too, and on standout songs such as Presence of Mind and rollicking closer Yes Or No, enough songwriting smarts to make a somewhat unlikely stylistic journey well worth the trip.
    • 63 Metascore
    • 60 Critic Score
    Magic Moment nearly works, but not quite: further proof, should you need it, that making a Christmas record is tougher than you might think.