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 Pull Up Some Dust and Sit Down
Lowest review score: 20 In Case You Didn't Know
Score distribution:
1360 music reviews
    • 80 Metascore
    • 80 Critic Score
    At its best, it’s tremendous stuff, with droll, sardonic portraits of lovers and losers punched along by grooves that sound variously like the Spencer Davis Group produced by Holland-Dozier-Holland (“Shake It Little Tina”), Stonesy raunch pitched midway between rock, funk, soul and country (“Me N Annie”), and sundry suggestions of Elton John, The Replacements and Calexico.
    • 80 Metascore
    • 60 Critic Score
    On Freedom Highway, Rhiannon Giddens animates black American history--notably, the arduous journey from slavery to civil rights--in songs which pair her strong, sonorous delivery with arrangements echoing pre-blues minstrel music.
    • 80 Metascore
    • 80 Critic Score
    Former Hüsker Dü drummer/songwriter Grant Hart exhibits huge ambition on The Argument.
    • 80 Metascore
    • 80 Critic Score
    Producer Ed Buller has given the band a bigger sound that works well on the rolling U2-esque riff to “Barriers”, but parts of the album still sag under expectations.
    • 80 Metascore
    • 80 Critic Score
    These are some of the most engaging songs he's written, with beguiling melodies wrapped around typically gnomic lyrics, and little undue instrumental indulgence.
    • 80 Metascore
    • 80 Critic Score
    Throughout, Tweedy’s arrangements are the soul of discretion, employing the merest suggestions of rhythm and texture to show Staples’ iconic voice to best advantage.
    • 80 Metascore
    • 80 Critic Score
    There’s the same penchant for itchy, unusual beats from the likes of 4Tet and Fred; the same provocative, philosophical flow; and the same undertow of paranoid wariness.
    • 80 Metascore
    • 80 Critic Score
    Emmaar is a typically impressive blend of the emotional and the political from Tinariwen.
    • 80 Metascore
    • 40 Critic Score
    Unfortunately, there’s not much pleasure here for the listener, manoeuvred into the position of reluctant psychoanalyst.
    • 80 Metascore
    • 60 Critic Score
    Songs finds John Fullbright more concerned with the act of writing than with illuminating a subject.
    • 80 Metascore
    • 80 Critic Score
    A true original, at his very best.
    • 80 Metascore
    • 80 Critic Score
    The skirling electric guitars have been replaced by acoustic instruments which, allied to the ageless, weary but unbowed character of Ibrahim Ag Alhabib's voice, enhances further the bluesy nature of their music.
    • 80 Metascore
    • 80 Critic Score
    Mutual Friends, a loose song-cycle, is entirely winning.
    • 80 Metascore
    • 80 Critic Score
    Mark Lanegan's darkly knowing interpretation is one of the highlights of this compilation tribute.
    • 80 Metascore
    • 100 Critic Score
    Fascinating, enjoyable and original.
    • 80 Metascore
    • 60 Critic Score
    It’s a break-up album that’s perhaps a touch too unremittingly bleak for the closing resolution of “Another Train” (“I’m moving on, through the past, through the pain, waiting on another train”) to completely convince.
    • 80 Metascore
    • 100 Critic Score
    A brilliant, nigh-on faultless work from an acknowledged master.
    • 80 Metascore
    • 80 Critic Score
    Norwegian musician Thom Hell’s eighth album is an inventive meditation on growing up.
    • 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.
    • 80 Metascore
    • 100 Critic Score
    Lone soul genius Cody ChesnuTT's in dazzling form on Landing on a Hundred, which must be the most impressive crowd-funded album ever.
    • 80 Metascore
    • 100 Critic Score
    He's keen to please, but what's remarkable about The Lady Killer is that he manages to avoid all the bubblebath boudoir-soul cliches that litter most R&B albums.
    • 80 Metascore
    • 100 Critic Score
    ["A Little Bit Of Everything"] is a thoughtful, mature conclusion to an album that seems to summarise one of the more welcoming trends in American rock
    • 80 Metascore
    • 80 Critic Score
    Americana is the kind of concept album that Bernie Taupin might have written for Elton John; but being Ray Davies, it’s not so much comprised of fond, mythopoeic imaginings as the more specific (non-political) relationship that still subsists between Britain and America.
    • 80 Metascore
    • 60 Critic Score
    It’s an enjoyable, occasionally virtuosic romp, fronted by Thundercat’s smooth soul harmonies, which lend proceedings the lustrous sheen of Earth, Wind & Fire.
    • 80 Metascore
    • 60 Critic Score
    With Golding’s expansive, questing lines riding Boyd’s rolling, polyrhythmic funk, the duo set displays a focused musical intimacy, while the band set is immediately more incendiary, thanks to Parker wailing wild over Golding’s more rooted part in “Valley Of The Ultra Blacks”.
    • 80 Metascore
    • 80 Critic Score
    The result is an engaging, youthful and thoughtful folk-rock.
    • 80 Metascore
    • 80 Critic Score
    It's a brave and sometimes baffling album, broaching difficult themes; though faced with a series of such unforgiving electro-sonic maelstroms, one may hanker for the touches of folksy pastoralism that lightened earlier AF albums.
    • 80 Metascore
    • 60 Critic Score
    It seems like they just ran out of interest, and gave up.