The Independent on Sunday (UK)'s Scores

  • Music
For 754 reviews, this publication has graded:
  • 56% higher than the average critic
  • 3% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 1.6 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 Break It Yourself
Lowest review score: 20 Overexposed
Score distribution:
  1. Negative: 14 out of 754
754 music reviews
    • 84 Metascore
    • 100 Critic Score
    Parker's music is approached from a post-Coltrane, post-free jazz aesthetic, with the rhythmic edginess of bebop elided into an all-the-time-in-the-world fluidity. A masterpiece.
    • 100 Metascore
    • 100 Critic Score
    The most perfect suite of music recorded in my lifetime.
    • 86 Metascore
    • 100 Critic Score
    All of this adds up to something very special indeed.
    • 85 Metascore
    • 100 Critic Score
    To the relief of anyone who carries a torch for the reclusive genius, it's a beauty.
    • 61 Metascore
    • 100 Critic Score
    A delicious hybrid of Portishead and Nancy Sinatra.
    • 78 Metascore
    • 100 Critic Score
    The most vibrant, organic and energy infused African hip-hop debut since K'naan's The Dusty Foot Philosopher.
    • 86 Metascore
    • 100 Critic Score
    Marvellous.
    • 81 Metascore
    • 100 Critic Score
    But where Learning drifted into the ether, this captivating follow-up thrives off harnessing his fragile sensibility to fulsome melodies.
    • 78 Metascore
    • 100 Critic Score
    Always may well be the Californians' finest yet.
    • 89 Metascore
    • 100 Critic Score
    Porter has made the best vocal album in an age.
    • 80 Metascore
    • 100 Critic Score
    If you like smart pop and are not familiar, hearing Bird for the first time will feel like discovering a new planet.
    • 89 Metascore
    • 100 Critic Score
    This is a band for fans of Leonard Cohen, Scott Walker and Nick Cave who wondered where their next great love was coming from...it's already here.
    • 74 Metascore
    • 100 Critic Score
    Wonderful.
    • 79 Metascore
    • 100 Critic Score
    It's a rather beautiful thing.
    • 59 Metascore
    • 100 Critic Score
    The eighth Marilyn Manson album features some of his finest lyrics yet and, musically, it often approaches the heyday of Holy Wood and Mechanical Animals.
    • 83 Metascore
    • 100 Critic Score
    Fear Fun is the kind of album that can name-check Sartre, Heidegger and Neil Young in the same song.
    • 82 Metascore
    • 100 Critic Score
    Words and Music, the first full studio album in an aeon from Sarah Cracknell, Bob Stanley and Pete Wiggs, is a masterclass of pop theory and practice in perfect harmony.
    • 92 Metascore
    • 100 Critic Score
    Stapleton's writing for this recording, satisfies on every level.
    • 78 Metascore
    • 100 Critic Score
    The most compelling Spanish album I've heard in ages.
    • 82 Metascore
    • 100 Critic Score
    ODIGTS is the soul album of the century. It might yet turn out to be the album of the year
    • 67 Metascore
    • 100 Critic Score
    Hot Cakes is a rock-solid home win from the band who still do feelgood hard rock better than anyone alive.
    • 85 Metascore
    • 100 Critic Score
    A genuine classic, in fact.
    • 79 Metascore
    • 100 Critic Score
    The world adored the xx's Mercury Prize-winning debut album xx. Coexist is, if anything, an even finer piece of work.
    • 77 Metascore
    • 100 Critic Score
    Love This Giant is a skewed and funky instant classic.
    • 82 Metascore
    • 100 Critic Score
    In every sense, Theatre Is Evil sounds like a million dollars.
    • 80 Metascore
    • 100 Critic Score
    There's not a duff track or dull moment in this 75 minutes of studio material.
    • 99 Metascore
    • 100 Critic Score
    There are four CDs' worth but it's enormously rewarding, like mid-period Miles Davis playing Ligeti.
    • 80 Metascore
    • 100 Critic Score
    It's that rare commodity: an album to immerse yourself in and spend time with, both things no one does any more.
    • 87 Metascore
    • 100 Critic Score
    MBV leaves all other post-rock experimentalists looking like trivial dilettantes. If jet engines could sing, these would be their hymns.
    • 86 Metascore
    • 100 Critic Score
    Everything is great.
    • 79 Metascore
    • 100 Critic Score
    It is absolutely beautiful.
    • 82 Metascore
    • 100 Critic Score
    The occasional familiar, Carpenters-esque track aside, it makes for an exhilarating musical progression--even as his lyrical style remains unchanged.
    • 76 Metascore
    • 100 Critic Score
    Ghost on Ghost is as dense stylistically as it is lyrically.
    • 73 Metascore
    • 100 Critic Score
    Drawing on anything from Medieval plainsong to free jazz, she creates an extraordinary sensation of light, air, and space.
    • 85 Metascore
    • 100 Critic Score
    There is joy in these grooves; the attentive care of studio perfectionists, and the warm embrace of an old friend.
    • 76 Metascore
    • 100 Critic Score
    Funny, sad, perfect.
    • 74 Metascore
    • 100 Critic Score
    Feels Like Home is musically conservative, socially ingratiating, politically vulnerable. It is unmistakably a piece of product. But it is also brilliant.
    • 75 Metascore
    • 100 Critic Score
    Even though the album comes in at nearly 80 minutes, surprisingly it doesn’t feel too long. This is largely because it doesn’t get stuck in an Afrobeat rut.
    • 89 Metascore
    • 100 Critic Score
    A good “deluxe” remaster job will do at least two things: one, it’ll strip away centuries of digital compression and make the music sound as if you’ve never heard it properly before; two, it’ll include additional material that gives insight into how the finished work was shaped. Moondance delivers on both counts.
    • 78 Metascore
    • 100 Critic Score
    There are overworked beatscapes and confounding lyrics, sure--but also multiple sublime, fully formed songs.
    • 88 Metascore
    • 100 Critic Score
    What comes across most is the sheer unbridled enthusiasm expressed in the complex, racing rhythms, squalling sax solos, twanging electric guitar and crooning vocals.
    • 89 Metascore
    • 100 Critic Score
    Annie Clark’s fourth album is frequently extraordinary.
    • 82 Metascore
    • 100 Critic Score
    The songs are sparky and Cherry is in excellent voice as she raps, sings and swings against the sparse, drum and bass-style backing orchestrated by Four Tet.
    • 91 Metascore
    • 100 Critic Score
    This may well be Henriksen’s most approachable album--certainly for people coming to him for the first time--and even the semi-commercial breakthrough he deserves. It is also absolutely sublime.
    • 85 Metascore
    • 90 Critic Score
    The worldy influence remains but never overwhelms and the album contains at least half a dozen songs that are as simple and profound as anything Simon has ever written.
    • 86 Metascore
    • 90 Critic Score
    Catchy yet abrasive, noisy yet intimate, kind of funny yet also kind of scary, this is post-pop at its most vertiginously original.
    • 83 Metascore
    • 90 Critic Score
    A welcome addition to the Beastie canon, and if it gets them back out on the road, it'll be an absolutely precious one.
    • 82 Metascore
    • 90 Critic Score
    As with some diseases, the album gets worse before it gets better, but by the end you're left stunned in admiration. Hell, there's even a redemptive arc. Amazing.
    • 85 Metascore
    • 90 Critic Score
    The Cumbrian quartet haven't fumbled the ball with the follow-up. Smother, recorded in the shadow of Snowdonia, tinkles and twinkles like the classiest adult-alternative pop of the 1980s.
    • 86 Metascore
    • 90 Critic Score
    The mood of uplifting-melancholia survives and this time out Vernon needs no dramatic backstory. Clearly, his is a talent that loves company as much as it loves misery.
    • 68 Metascore
    • 90 Critic Score
    As always, Ladytron make the world feel a more haunted, evocative, romantic place. Faultless.
    • 88 Metascore
    • 90 Critic Score
    Bad As Me is as good as it gets.
    • 76 Metascore
    • 90 Critic Score
    It sounds like a soundtrack for the end of the world, or the birth of new worlds. Extraordinary.
    • 84 Metascore
    • 90 Critic Score
    This is Cash at his rawest and most riveting, singing his soul out to platoons, prisoners and presidents alike. Hard to describe in terms that are adequate.
    • 81 Metascore
    • 90 Critic Score
    First Aid Kit sing harmonies so close you couldn't run a Band Aid between them.
    • 83 Metascore
    • 90 Critic Score
    This is one of the most exhilarating albums of the year.
    • 85 Metascore
    • 90 Critic Score
    14 songs of keening, romantic acoustic music of great seriousness and lightness of being.
    • 70 Metascore
    • 90 Critic Score
    The none-more-Nietzschean, grandiose-apocalyptic mood continues through the utterly splendid Olympic theme "Survival", with its über-ELO arrangement, and "Animals", with its sound effects of an angry, riotous mob.
    • 88 Metascore
    • 90 Critic Score
    This one's a beauty.
    • 80 Metascore
    • 90 Critic Score
    Bloodsports is effortlessly superior to its predecessor A New Morning, and averages out roughly on a level with Head Music (though more consistent in quality).
    • 71 Metascore
    • 90 Critic Score
    Gruff’s gorgeous voice helps humanise Feltrinelli. Never more so than on “Hoops With Fidel”, which, rather than demonising him and Castro, conveys the ideal of international revolution as a beautiful thing. As beautiful, in fact, as this album.
    • 82 Metascore
    • 90 Critic Score
    Post-millennial indie boy-rock has taken a savage beating here. And it may prove the best it’s ever had.
    • 84 Metascore
    • 90 Critic Score
    Meta-pop doesn’t come much more moving than this.