The Guardian's Scores

  • Music
For 3,170 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 Monoliths & Dimensions
Lowest review score: 10 Life In Cartoon Motion
Score distribution:
3,170 music reviews
    • 52 Metascore
    • 30 Critic Score
    Before long, though, Duran Duran are adrift in an unforgiving sea of disco-dad dance-pop, anaemic vocals and lyrics too distressingly awful to repeat in a family newspaper.
    • 70 Metascore
    • 30 Critic Score
    A crashing disappointment.
    • 56 Metascore
    • 30 Critic Score
    Lifeless, as if the air had been sucked from the band's lungs.
    • 66 Metascore
    • 30 Critic Score
    Throughout Rock N Roll, Adams is too busy winking, smirking and showing off to convey anything approaching an emotion.
    • 67 Metascore
    • 30 Critic Score
    The beats are intricate but ineffectual, the songwriting is thin and every song is enveloped in a suffocating orchestral shroud.
    • 68 Metascore
    • 30 Critic Score
    Perhaps spurred by the ease with which the Boring Solo has been grafted on to their chosen template, When It Falls finds Zero 7 expanding their horizons and going on to be boring in other areas.
    • 48 Metascore
    • 30 Critic Score
    However tiresome the slogans, worse is the fact that the beats are lazy.
    • 55 Metascore
    • 30 Critic Score
    Everyone wants Brian Wilson's story to have a happy ending. The worst thing about Gettin' In Over My Head - far worse than the mediocre songs and the MOR guest appearances - is that it doesn't sound terribly happy.
    • 65 Metascore
    • 30 Critic Score
    The music is so anodyne that you don't pay much attention to Lavigne's lyrics. This proves to be a small mercy: examination of the CD booklet reveals that prolonged exposure to her words could leave a previously healthy adult rocking backwards and forwards in a foetal ball.
    • 62 Metascore
    • 30 Critic Score
    Hackneyed songs grind drearily.
    • 52 Metascore
    • 30 Critic Score
    The album's drawback lies not with the producers or the material, but with Lopez herself.
    • 57 Metascore
    • 30 Critic Score
    Apparently knocked off in just six weeks, Daft Punk's third album sounds like it took six days. Six short days. With long lunches.
    • 50 Metascore
    • 30 Critic Score
    The trouble is, they've... stopped writing songs. Instead, there are collages of sound devoid of subtlety; colliding rhythms that make noise rather than sense.
    • 40 Metascore
    • 30 Critic Score
    Like Mike Oldfield's Tubular Bells II and Meat Loaf's Back Into Hell, it doesn't so much play as fall out of the speakers with a flump: the sound of a towel being thrown in.
    • 61 Metascore
    • 30 Critic Score
    While their first album had a stirring anthem or two, their songwriting here is both flimsy and overblown, like an empty carrier bag temporarily inflated by a gust of wind.
    • 48 Metascore
    • 30 Critic Score
    How can this dork-metal silliness still be going on in 2005?
    • 51 Metascore
    • 30 Critic Score
    An hour of boredom.
    • 61 Metascore
    • 30 Critic Score
    Half the 12 tracks are risible throwaway genre and covers. The other half are, at best, extremely mellifluous Big Star tribute band songs.
    • 63 Metascore
    • 30 Critic Score
    It's all too dull to make anyone care but Crow.
    • 43 Metascore
    • 30 Critic Score
    Her sense of self-importance [is] so prevalent on her second album that it negates the mild pleasure you might otherwise get from it.
    • 45 Metascore
    • 30 Critic Score
    Santana proves that even endless high-sustain soloing cannot heal the generically lame.
    • 55 Metascore
    • 30 Critic Score
    As he points out in the sleeve notes, these were "works in progress", but that doesn't excuse using stagnant rock riffs to obscure his lack of inspiration.
    • 63 Metascore
    • 30 Critic Score
    What 20/20 does best is portentousness and the empty brag - essentially male traits that make listening rather like being hectored by the pub bore.
    • 57 Metascore
    • 30 Critic Score
    She sings like a woman who has heard of something called singing, can't be sure of exactly what it might entail, but is fairly certain you do something a bit like this. She sounds both distracted and bored stiff, as if making an album is keeping her from the more serious business of standing around a nightclub in a pair of really enormous sunglasses.
    • 53 Metascore
    • 30 Critic Score
    A scant handful of highlights aside, it is packed with half-baked ideas, bad jokes, music that any other star of Williams' stature would be terrified of the general public hearing.
    • 83 Metascore
    • 20 Critic Score
    Secret Wars is a sobering demonstration of what repetition can do in the wrong hands, as the Brooklyn trio funnel the most endurance-testing excesses of Suicide, Can, Sonic Youth and stoner rock into a joyless, oppressive piece of work.
    • 74 Metascore
    • 20 Critic Score
    Feels Like Home is so inoffensive you have trouble remembering whether you put it on.
    • 40 Metascore
    • 20 Critic Score
    Where she used to be smart and provocative, Phair has become crass and bloated, her lyrics crude and her image apparently a grotesque exercise in self-parody.
    • 59 Metascore
    • 20 Critic Score
    Every now and again they hit on a promising musical idea, then ruin it.
    • 63 Metascore
    • 20 Critic Score
    Disembodied bleeps and European synth drifts opt for bleak, alien magnetism but just end up sounding utterly depressing.