The Independent (UK)'s Scores
- Music
For 2,194 reviews, this publication has graded:
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47% higher than the average critic
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4% same as the average critic
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49% lower than the average critic
On average, this publication grades 3 points lower than other critics.
(0-100 point scale)
Average Music review score: 70
Highest review score: | Hit Me Hard and Soft | |
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Lowest review score: | Donda |
Score distribution:
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Positive: 1,177 out of 2194
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Mixed: 988 out of 2194
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Negative: 29 out of 2194
2194
music
reviews
- By Date
- By Critic Score
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- Critic Score
As the album proceeds, the band’s strident Mumfordry becomes all too wearing, these songs patently designed more for festival singalong than introspective reflection.- The Independent (UK)
- Posted Aug 25, 2016
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- The Independent (UK)
- Posted Aug 25, 2016
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- Critic Score
Despite Andrews’ occasionally overwrought attempts to conjure up a mood of malevolent fate by channelling his inner Nick Cave, it’s an absorbing journey.- The Independent (UK)
- Posted Aug 25, 2016
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- Critic Score
Less structured and song-oriented than Channel Orange, it’s a long, meandering ramble through Ocean’s passing interests and attitudes, hopes and memories, alighted upon like scenes briefly glimpsed from a train window and then dropped into tracks that aren’t so much sung as delivered in an undulating sprechstimme that seems to be avoiding the difficult choice of a compelling melody.- The Independent (UK)
- Posted Aug 25, 2016
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- Critic Score
This debut album has a slick sonic design and retro flavour akin to Random Access Memories, but ratrher than the 70s, he’s gazing fondly back at the early rave era.- The Independent (UK)
- Posted Aug 18, 2016
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- Critic Score
Blending Cline originals and recent covers with reimagined standards by the likes of Jerome Kern and Rodgers & Hart, all realised in beautifully enigmatic arrangements which wrap woodwind, horns, strings and tuned percussion around Cline’s guitar. Throughout, atmosphere is paramount.- The Independent (UK)
- Posted Aug 18, 2016
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Pure & Simple sticks for the most part to an agreeable neo-traditional approach.- The Independent (UK)
- Posted Aug 18, 2016
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Her own third album suggests she’s every bit [Damien Rice's] equal in tracking the heart’s mysterious emotional undercurrents.- The Independent (UK)
- Posted Aug 18, 2016
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- Critic Score
On John Paul White’s Beulah, the dark emotions of tracks like “Fight For You” and “Hope I Die” mingle with the bitterness of “The Once And Future Queen” and the low self-esteem of “I’ll Get Even” to create a strangely subdued portrait of emotional turmoil, couched in Southern folk and country modes.- The Independent (UK)
- Posted Aug 18, 2016
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- Critic Score
“Riser” features Jaki Liebezeit-style tom-toms behind cosmic contrails of synth trapped in a cavernous ambience; while string synth and wordless vocal keening drape like fog around “Abandoned/In Silence”, whose clarinet line establishes accidental but apt echoes of the theme to Exodus.- The Independent (UK)
- Posted Aug 16, 2016
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- The Independent (UK)
- Posted Aug 16, 2016
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- Critic Score
It’s really interesting seeing how much chemistry Dubz and Giggs still have; it feels like there’s still some space for Ard Bodied 2.- The Independent (UK)
- Posted Aug 16, 2016
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- Critic Score
It’s hard not to become overly aware of how the similarity of both the musical settings--basically, strings allied to rhythm programmes of skittish or explosive beats--and especially Bjork’s delivery tends to leach the individual songs into one another.- The Independent (UK)
- Posted Aug 12, 2016
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- Critic Score
As with many great albums, successive hearings reveal more clearly the elliptical tunes at the heart of these eight quietly intense pieces, climaxing with the eight-minute “Age Old Tale”, a masterly band performance.- The Independent (UK)
- Posted Aug 12, 2016
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- Critic Score
It’s well-wrought and entertaining for the most part, though there are moments, as in “The Palest Of Them All”, when the archness becomes top-heavy and capsizes the song.- The Independent (UK)
- Posted Aug 10, 2016
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- Critic Score
There’s unintended comedy and a few overlooked gems amongst the lesser lights unearthed here.- The Independent (UK)
- Posted Aug 4, 2016
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The issues she covers are complex at times--“Called You Queen” recounts a problematic period partnering a gay man, “before your body betrayed you”--but “Blue Diamond Falls” closes the album on a positive note, affirming feminist possibilities that “you can be whatever you like”.- The Independent (UK)
- Posted Aug 4, 2016
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- Critic Score
Its dark, unflinching songs certainly ponder humanity’s less attractive traits, with arrangements to match.- The Independent (UK)
- Posted Aug 3, 2016
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- Critic Score
Wreathed in mellotron, vibrato guitar and ghostly backing vocals, several songs evoke the windswept psych-pop of The Coral, whose singer James Skelly co-produces Blossoms.- The Independent (UK)
- Posted Aug 3, 2016
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- The Independent (UK)
- Posted Aug 3, 2016
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- Critic Score
Other highlights include Los Lobos’ typically confident swagger through “Bootleg”, and the unusual alliance of ZZ Top’s Billy Gibbons with Colombian singer La Marisoul on a wonderfully gritty “Green River”.- The Independent (UK)
- Posted Aug 3, 2016
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- Critic Score
The result may be the band’s best album yet, one on which they come closer than ever.- The Independent (UK)
- Posted Aug 3, 2016
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Only occasionally does the survey of this interpersonal battlefield afford an optimistic light.- The Independent (UK)
- Posted Jul 28, 2016
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- Critic Score
The Warrington quartet was clearly in the process of defining their own sound.- The Independent (UK)
- Posted Jul 28, 2016
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- Critic Score
The album only develops a steely ragga rasp in the last few tracks, when the hometown likes of Bounty Killer, Capleton and Sizzla make their presence felt.- The Independent (UK)
- Posted Jul 27, 2016
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- Critic Score
It’s Robinson’s soul-scorched vocals that hold everything together, his relaxed charm shining through whether he’s engaged in perplexing, mystic narratives or offhand, recreational encouragements to “relax your mind”.- The Independent (UK)
- Posted Jul 27, 2016
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- Critic Score
His voice, which should be the focus, sounds muffled by effects. Neville’s fluting, melismatic vocal is much better served on the slow waltz hymnal “Heaven”, a persuasive reflection of his faith.- The Independent (UK)
- Posted Jul 25, 2016
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With songs about mountain men and sentient country houses, it’s like a more pompous (and crucially) humourless version of The Incredible String Band built around flutes, celesta and caterwauling: okay in very small doses, but unbearable at album length.- The Independent (UK)
- Posted Jul 21, 2016
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- Critic Score
The deceptive geniality of his delivery, meanwhile, recalls Gilbert O’Sullivan, enabling him to bring darker undertones to apparently pleasant pieces like the lilting waltz “I’m Gonna Haunt This Place.”- The Independent (UK)
- Posted Jul 21, 2016
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- Critic Score
He’s helped by the sleek production of Ry and Joachim Cooder, the former lacing delicious guitar lines through Outlaw’s songs while his son adds subtly illustrative percussive flourishes.- The Independent (UK)
- Posted Jul 20, 2016
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