The Independent (UK)'s Scores

  • Music
For 872 reviews, this publication has graded:
  • 43% higher than the average critic
  • 2% same as the average critic
  • 55% lower than the average critic
On average, this publication grades 5.8 points lower than other critics. (0-100 point scale)
Average Music review score: 66
Highest review score: 100 Happy People
Lowest review score: 20 The Awakening
Score distribution:
  1. Negative: 17 out of 872
872 music reviews
    • 71 Metascore
    • 80 Critic Score
    Thankfully, he's well advised: the material is carefully chosen to exploit his abilities.
    • 71 Metascore
    • 60 Critic Score
    It’s been 20 years since David Crosby’s last solo offering, but Croz finds his fire undimmed, and his freak flag still proudly flying, if slightly tattered.
    • 71 Metascore
    • 80 Critic Score
    If mutant garage-psychedelia is your thing, then Aussie quintet Pond's Hobo Rocket should have your head spinning.
    • 71 Metascore
    • 80 Critic Score
    There's an ease and comfort about the songs that suggests they fell into place naturally, rather than suffering endless alterations; and the band seem content to let them breathe and take on a life of their own, rather than freight them with unnecessary adornment.
    • 71 Metascore
    • 60 Critic Score
    Valhalla Dancehall found British Sea Power somewhat becalmed, but Machineries Of Joy gets them moving again, albeit in a variety of directions.
    • 71 Metascore
    • 60 Critic Score
    Her follow-up to the popular Mayhem finds Imelda May still indulging the boisterous rapscallion character suggested by titles like “Wild Woman”, “Hellfire Club” and “Gypsy In Me”.
    • 71 Metascore
    • 80 Critic Score
    A new punk classic.
    • 71 Metascore
    • 60 Critic Score
    Like Comedy features their ebullient charm in large dollops.
    • 71 Metascore
    • 80 Critic Score
    Hubcap Music finds Seasick Steve back on form, with an album steeped in gritty boogie and even grittier attitude.
    • 71 Metascore
    • 80 Critic Score
    Save for a shaky cover of “Send in the Clowns”, Ferry remains as calm and collected as ever at the eye of these emotional storms.
    • 71 Metascore
    • 60 Critic Score
    Comeback albums, it seems, are not just for other bands to do.
    • 71 Metascore
    • 60 Critic Score
    In between, there’s nimble bluegrass picking on the chipper two-step “The Wind” Less welcome are Caribbean incursions like the tourist-reggae drivel that is “Island Song”.
    • 71 Metascore
    • 80 Critic Score
    Smoke Fairies’ fourth album finds the English duo taking a tangent from their folk/blues approach with the help of a young producer, Kristofer Harris, who gives them a textured sound.
    • 71 Metascore
    • 80 Critic Score
    Just when you think it's done, it finds another gear through the ingenious addition of a subtle offbeat that kicks the groove up a notch--the kind of sly, brilliant touch that suggests Rudimental are worthy heirs to the likes of Soul II Soul and Basement Jaxx.
    • 71 Metascore
    • 80 Critic Score
    It's all delivered with customary warmth and swing from Miller's home studio.
    • 71 Metascore
    • 60 Critic Score
    Throughout Synthetica, an undertow of dystopian unease drags the music away from standard pop territory into darker areas.
    • 71 Metascore
    • 60 Critic Score
    The more often she changes, and the broader she spreads her net musically, the less distinctive her art becomes.
    • 71 Metascore
    • 60 Critic Score
    A sense of awestruck wonder permeates tracks such as "Swallowed by the Night", though when Barthmus tries to deal in more human terms, with the inverse "Ebony & Ivory" schtick of "Shared Piano", the results are less successful.
    • 71 Metascore
    • 60 Critic Score
    In a year already host to some brilliant albums, it seems tired and dated.
    • 71 Metascore
    • 60 Critic Score
    It’s an odd selection, including Bowie’s “Lady Grinning Soul” as a pallid piano ballad, and Keren Ann’s “Strange Weather” as a desolate but oddly comforting duet with David Byrne.
    • 71 Metascore
    • 80 Critic Score
    It all comes together more fruitfully on the ensuing "Hey, Shooter." [...] From there, it gets more fecund than ever.
    • 71 Metascore
    • 60 Critic Score
    Sadly, the decision to tell Feltrinelli's story in the same period technopop music as Stainless Style sabotages its impact.
    • 71 Metascore
    • 80 Critic Score
    There's a bruised strength to Spx's voice, and her melodies have the stark, fatalistic tone of chain-gang moans.
    • 71 Metascore
    • 40 Critic Score
    Felice fails to animate them in the manner of comparable storytellers like Johnny Dowd and Richmond Fontaine's Willy Vlautin, and thus leaves one's interest unignited.
    • 71 Metascore
    • 80 Critic Score
    It's always an after-hours, nocturnal experience.
    • 71 Metascore
    • 80 Critic Score
    Like some hibernating agit-prop agency awakening to meet the needs of these hard times, Gang of Four are in typically brusque form on their first new material for 16 years.
    • 71 Metascore
    • 80 Critic Score
    It's a gently moving meditation on the effects of solitude and nature on the soul, set to Lytle's characteristic blend of chugging guitar grooves aerated by bubbling synths and soothed by high harmonies.
    • 71 Metascore
    • 80 Critic Score
    The arrangements on Barry Adamson's latest album seem more restrained than usual, his jazz-noir ambitions trimmed to a blues-funk palette of bass and drum grooves carrying Hammond organ or piano parts, with just the occasional solo horn part.
    • 71 Metascore
    • 80 Critic Score
    Lollipop is the best Meat Puppets album since the halcyon days of Up on the Sun and Mirage, full of scudding lysergic country-rock grooves bound in twisting skeins of dervish lead guitar.
    • 71 Metascore
    • 80 Critic Score
    It's quite easy to envisage entire arenas punching the air to songs like these and the pounding “You're Gonna Get It”, one of two tracks featuring Paul Weller.