The Independent (UK)'s Scores

  • Music
For 1,200 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 5.3 points lower than other critics. (0-100 point scale)
Average Music review score: 66
Highest review score: 100 Elwan
Lowest review score: 20 Violet Cries
Score distribution:
1200 music reviews
    • 78 Metascore
    • 100 Critic Score
    Unlike most gothic pop, Lanegan’s art is not a matter of fashion or mascara: it’s a genuine cri du coeur, as rare and beautiful as anything in music.
    • 99 Metascore
    • 100 Critic Score
    Though spoilt in places by distortion and too-prominent electric piano, the hitherto unheard material is notable for the innovative exploration of yet another roots blend, through the impassioned country-soul of songs such as “That’s the Breaks”. Clearly, in this most congenial of creative cauldrons, virtually anything was possible.
    • 89 Metascore
    • 100 Critic Score
    This is music of stellar quality, from the smirking masturbation anthem “Low Yo Yo Stuff” to the berserk wizardry of “Big Eyed Beans from Venus.”
    • 59 Metascore
    • 100 Critic Score
    As before, echoes of classic Primal Scream/Stone Roses psych-rock underpin the grooves, which lope and stride infectiously.
    • 84 Metascore
    • 100 Critic Score
    For the most part, this is an album that restores faith in the sheer joy of music.
    • 81 Metascore
    • 100 Critic Score
    Weller’s magpie tendencies pay dividends.
    • 80 Metascore
    • 100 Critic Score
    A brilliant, nigh-on faultless work from an acknowledged master.
    • 83 Metascore
    • 100 Critic Score
    Even by Wilco’s adventurous standards, Star Wars is possibly the most unusual, exploratory work of the band’s existence.
    • 89 Metascore
    • 100 Critic Score
    Notionally a five-track EP, M3LL155X is in its fullest realisation an art film/performance (co-directed and co-choreographed by her), freely available on YouTube.... Musically, it’s a more focused, coherent application of the same kinds of sounds and vocals used on LP1.
    • 83 Metascore
    • 100 Critic Score
    [Lucinda Williams is] producing enough quality material to follow last year’s double-album Down Where the Spirit Meets the Bone with another double-album of equivalent potency. The songs on The Ghosts of Highway 20 have the unerring ring of truth about them, shining glimmers of light into dark and unpalatable corners of life.
    • 81 Metascore
    • 100 Critic Score
    There’s barely a moment on Distance Inbetween that doesn’t ooze new-found strength and inspiration.
    • 92 Metascore
    • 100 Critic Score
    Lemonade is fiery, insurgent, fiercely proud, sprawling and sharply focused in its dissatisfaction.
    • 75 Metascore
    • 100 Critic Score
    Skin is brilliant across the board.
    • 86 Metascore
    • 100 Critic Score
    It’s all delivered with welcoming warmth and humility, over impeccably buttoned-down soul-funk grooves.
    • 83 Metascore
    • 100 Critic Score
    The wonderful Wildflower is cause for celebration, its Zappa/Beasties-style collage of voices, samples, beats, sounds, and especially laughter offering a joyous affirmation of life.
    • 80 Metascore
    • 100 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.
    • 95 Metascore
    • 100 Critic Score
    The result is beautiful, visceral and, predictably, emotionally devastating.
    • 87 Metascore
    • 100 Critic Score
    Everything about the album is fragmented, and dizzying in the vein of Samuel Beckett’s Not I or T.S. Elliot’s The Waste Land. Even the lyric sheet is a glorious mess.
    • 88 Metascore
    • 100 Critic Score
    Thoughtful, engaging and utterly contemporary, it’s one of the albums of the year.
    • 83 Metascore
    • 100 Critic Score
    A remarkable case of sonic reinvention.
    • 77 Metascore
    • 100 Critic Score
    Wherever you look, there’s a fierce artistic sensibility at work.
    • 76 Metascore
    • 100 Critic Score
    Freedom Jazz Dance features the entire session reels for tracks from Miles Smiles and Nefertiti, complete with studio dialogue, enabling us to hear Miles discussing and directing the music, ironing out details. ... The point when they all seem to realise, as one, what to do with “Nefertiti” is a moment of pure, transcendent joy.
    • 87 Metascore
    • 100 Critic Score
    Elwan (Elephants), perhaps their most powerful album since Amassakoul, confronts their situation head-on, in songs musing on the values of ancestry, unity and fellowship, driven by the infectiously hypnotic cyclical guitar grooves that wind like creepers around their poetic imagery.
    • 73 Metascore
    • 80 Critic Score
    Technically unimpeachable, the layered harmonies of songs such as "Angels From The Realms Of Glory" and "The Holly And The Ivy" are rendered with razor-sharp precision, though there's a stridency to her delivery on some pieces.
    • 75 Metascore
    • 80 Critic Score
    It's easily the best work Diddy's been involved with in his entire career.
    • 70 Metascore
    • 80 Critic Score
    British Sea Power are bravely bringing beauty into an increasingly ugly world, whether that world wants it or not. They ought to be given a medal. For valour. For Valhalla.
    • 76 Metascore
    • 80 Critic Score
    The Kentucky combo Cage the Elephant manage to find a new wrinkle on the face of US indie-punk, thanks to an enthusiasm for yoking catchy melodies to abrasive guitar riffs that recalls the Pixies.
    • 76 Metascore
    • 80 Critic Score
    The T-Bone Burnett-produced Low Country Blues is Gruntin' Gregg Allman's first album in 14 years, and it's the best work he's done since the Allman Brothers' Seventies heyday.
    • 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.
    • 83 Metascore
    • 80 Critic Score
    Todd Snider has the kind of audience rapport that comes only through years of one-night stands and the confidence that builds in one's character – even if that character is of an inveterate ne'er-do-well peacenik, wryly proud of his inability to grow old gracefully.