The Independent (UK)'s Scores

  • Music
For 1,360 reviews, this publication has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 5.2 points lower than other critics. (0-100 point scale)
Average Music review score: 67
Highest review score: 100 Turn Blue
Lowest review score: 20 Funk Wav Bounces, Vol. 1
Score distribution:
1360 music reviews
    • 77 Metascore
    • 80 Critic Score
    The group’s most ambitious work yet. ... Elsewhere, “The 55 Quintessence” castigates “fascist terrorists with hashtags”, while a modicum of counterbalance is provided by the romantic throbs of “Julian’s Dream” and especially “Effeminence”, a hypnotically shuffling, sensuous piece which demonstrates that Quazarz is just as vulnerable to the lure of the ladies.
    • 68 Metascore
    • 80 Critic Score
    Whatever their origin [his guitars], he manages to wrestle compelling riffs from them.
    • 84 Metascore
    • 80 Critic Score
    It's the most simple, directly dance-oriented they've been since Disco, putting down a marker for the rest of the album.
    • 75 Metascore
    • 80 Critic Score
    Tales of a Grasswidow is easily CocoRosie's most satisfying, fully realised work so far.
    • 60 Metascore
    • 80 Critic Score
    There's an assured balance of passion and restraint in his takes on "I'd Rather Go Blind" and "I Only Have Eyes For You", though his "Lonely Avenue" lacks Ray Charles' relaxed slouch.
    • 77 Metascore
    • 80 Critic Score
    Musically, the lay-off, and the acquisition of new bass and keyboard players, has worked wonders for Idlewild’s sonic palette.
    • 77 Metascore
    • 80 Critic Score
    What's not in doubt is how faithfully he's stuck to the core deep-soul verities, with a delivery that vaults from spoken sermonising to raw, impassioned hurt in an instant.
    • 74 Metascore
    • 80 Critic Score
    The quiet piano pieces of Eirenic Life are intriguingly low-key.
    • 74 Metascore
    • 80 Critic Score
    The results here are surprisingly congenial, their sparkle only slightly subdued by the breathy reverb that swathes everything in a sonic dust entirely appropriate to the 1970s source.
    • 72 Metascore
    • 80 Critic Score
    This is actually one of the Lips' more coherent efforts, despite its wild diversity and devil-may-care attitude.
    • 75 Metascore
    • 80 Critic Score
    Lux
    Whereas most 75-minute albums of short songs swiftly pall, Lux never bores because it's never making foreground demands on your attention.
    • 95 Metascore
    • 80 Critic Score
    Notwithstanding the occasional foray into jazz and blues, Black Messiah is much the same blend of miasmic boudoir soul, bare-bones funk and liberation songs that characterised his 2000 milestone, Voodoo.
    • 78 Metascore
    • 80 Critic Score
    Ironically, despite the phalanxes of American producers involved in the album, it actually sounds less desperately transatlantic than The Fifth, possibly due to Dizzee’s enjoyment in using parochial British expletives like “bloody” and “knackers.”
    • 95 Metascore
    • 80 Critic Score
    This album isn't a 'Holy shit I need to text my friend imploring them to listen immediately' mind blower, but it is a valuable addition to his oeuvre.
    • 80 Metascore
    • 80 Critic Score
    Powerful and personal, it’s a persuasive protest tribute straight from the heart.
    • 72 Metascore
    • 80 Critic Score
    The Birmingham quartet's debut album bears out the promise of their early singles and Delicious EP.
    • 80 Metascore
    • 80 Critic Score
    In a career spanning more than two decades, Elbow have always taken things at their own pace, and this shows in Little Fictions’ pleasing rhythms.
    • 77 Metascore
    • 80 Critic Score
    Opening with urgent triplets, it settles into an elegant braiding of interlaced lines that push the music forward in waves.
    • 73 Metascore
    • 80 Critic Score
    Erykah Badu lends a childlike charm to the sunburnt fizz of Glasper’s bossa nova version of “Maiysha (So Long)”, with Miles’s trumpet shining through towards the end.
    • 77 Metascore
    • 80 Critic Score
    [A] sparkling, multi-faceted comeback album.
    • 85 Metascore
    • 80 Critic Score
    White's own voice lacks the character to drive his songs, but Big Inner is a hugely impressive debut nonetheless.
    • 82 Metascore
    • 80 Critic Score
    At its best, Overgrown proves that James Blake doesn't need to listen to anyone's advice. He's doing fine already.
    • 72 Metascore
    • 80 Critic Score
    The pair dovetail beautifully on the mostly traditional ballads and work-songs.
    • 71 Metascore
    • 80 Critic Score
    Certainly, the recurrent themes of conclusion, starting over and rebuilding do lend it a muscular sense of purpose.
    • 70 Metascore
    • 80 Critic Score
    It's Wretch's determination to find success by finding his own voice that's most impressive here.
    • 66 Metascore
    • 80 Critic Score
    The most impressive item here is the deep-soul duet with Miley’s sister Noah Cyrus, “Waiting”, in which Bugg’s aching delivery is perfectly tempered by her fragile sweetness, like vocal salted caramel.
    • 74 Metascore
    • 80 Critic Score
    It’s not an album that fights for your attention, but one that knows it doesn’t have to try.
    • 81 Metascore
    • 80 Critic Score
    Nichols’ explanation of its development--starting out in the mould of country legends The Stanley Brothers, but metamorphosing through exposure to Malian desert-blues master Ali Farka Toure--reveals the blend of influences his music subtly weaves together.
    • 68 Metascore
    • 80 Critic Score
    The inventive Diplo is a frequent collaborator, with support from Avicii, Michael Diamond and Kanye, but what’s most impressive is Madonna’s singing.
    • 60 Metascore
    • 80 Critic Score
    The band have managed to pull it off again, with an engaging collection that refuses to be hidebound by the strictures of indie-rock.