The Independent (UK)'s Scores

  • Music
For 925 reviews, this publication has graded:
  • 44% higher than the average critic
  • 2% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 5.6 points lower than other critics. (0-100 point scale)
Average Music review score: 66
Highest review score: 100 Nothing Is Wrong
Lowest review score: 20 Little Red
Score distribution:
  1. Negative: 17 out of 925
925 music reviews
    • 75 Metascore
    • 80 Critic Score
    A typically diverse collection.
    • 63 Metascore
    • 80 Critic Score
    Featuring a blend of standards and originals spiced with judicious covers of sometimes obscure indie tracks, it manages to sustain a mood and attitude throughout without offering too many hostages to homogeneity.
    • 88 Metascore
    • 80 Critic Score
    The first line of the first song encapsulates the adolescent angst which blossomed over and over throughout the band's career, with varying degrees of wit, empathy, contempt and self-pity.
    • 76 Metascore
    • 80 Critic Score
    It's the sense of space that grips one's attention, sometimes just flecks of sound, like snowflakes in darkness, create a sense of brooding unease.
    • 72 Metascore
    • 80 Critic Score
    The result is a work with greater resonance and presence, which might secure her mainstream success.
    • 85 Metascore
    • 80 Critic Score
    if it is to be his last communiqué, at least the old smoothie's going down swinging.
    • 79 Metascore
    • 80 Critic Score
    With feelgood lyrics of fellowship allied to pulsing electro twitches, Sister Bliss-style piano vamps, sample fragments and sunrise synthscapes, there's a flavour of The Beloved to "Warm & Easy" and "Bear Hug."
    • 69 Metascore
    • 80 Critic Score
    Ani DiFranco's first album in three years finds the self-proclaimed Righteous Babe in feisty, thoughtful form.
    • 81 Metascore
    • 80 Critic Score
    Blessed with clear, characterful voices, employed in beautifully modulated, bell-like harmonies, the Söderbergs find beauty in the bleakness of mortality and the cyclical nature of things.
    • 77 Metascore
    • 80 Critic Score
    The backdrops feature dark sheets of strings and organ, the occasional lonely trumpet, and lumpy, superstitious drums driving the menacing Western mythos to its doom: not a forgiving place, but an engrossing one.
    • 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.
    • 75 Metascore
    • 80 Critic Score
    Her best album in about a decade.
    • 75 Metascore
    • 80 Critic Score
    It's Rose's harmonies that make the album special: warm and breathy, they seem to sidle gently into position, rather than cut with razor precision.
    • 77 Metascore
    • 80 Critic Score
    While not as immediately career-defining as Wake Up the Nation, there's no denying that with Sonik Kicks, Paul Weller is continuing the courageous, exploratory course established on 2008's 22 Dreams.
    • 80 Metascore
    • 80 Critic Score
    When it all comes together, with the sinuous, haunting grace of "Near Death Experience Experience" or the jaunty élan of "Danse Carribe", the results more than justify the sometimes obtuse methods.
    • 67 Metascore
    • 80 Critic Score
    Phantom Limb have refined their sound further to more clearly occupy the kind of country-soul territory once inhabited by the likes of Dobie Gray and The Staple Singers.
    • 77 Metascore
    • 80 Critic Score
    The band's mix of intelligence and drive, and their blend of guitar, accordion, organ and violin, echoes Arcade Fire. Certainly, Colin Meloy's songs have a comparable ambition.
    • 69 Metascore
    • 80 Critic Score
    The most potent and inventive electronica album I've heard in ages, a masterclass in punchy bleepscaping right from the low-register throb that opens "Lowly".
    • 72 Metascore
    • 80 Critic Score
    By the second listen, it's somehow found its place in one's affections, despite its lack of obvious hooks.
    • 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.
    • 81 Metascore
    • 80 Critic Score
    Sweet Heart Sweet Light is infused with an uplifting lust for life.
    • 64 Metascore
    • 80 Critic Score
    MDNA represents a determined, no-nonsense restatement of the Madonna brand.
    • 71 Metascore
    • 80 Critic Score
    It all comes together more fruitfully on the ensuing "Hey, Shooter." [...] From there, it gets more fecund than ever.
    • 67 Metascore
    • 80 Critic Score
    This ability to tiptoe between opposing positions brings a pleasing depth and grain to some of her songs.
    • 72 Metascore
    • 80 Critic Score
    With her delivery tacking impressively between sweet and smoky, "On the Road" recalls what happened when the Kind of Blue influence hit the likes of Tim Buckley and Tim Hardin.
    • 86 Metascore
    • 80 Critic Score
    The result is a dark, steamy sound that comes crawling from the Louisiana swamp like a mean-tempered 'gator.
    • 74 Metascore
    • 80 Critic Score
    Taken together, the results demonstrate how adeptly Amadou & Mariam straddle both local and global, with a truly "world" music that deserves mainstream chart success rather than niche appreciation.
    • 75 Metascore
    • 80 Critic Score
    A refreshingly non-dogmatic take on retro musical styles.
    • 74 Metascore
    • 80 Critic Score
    It's delivered with Bonnie's trademark kindly swagger, although her best performances here are probably the brace of covers from Dylan's Time out of Mind, "Million Miles" and "Standing in the Doorway", on which Frisell's tiny vibrato glimmer wields a subtle power to match her quiet passion.
    • 72 Metascore
    • 80 Critic Score
    The pair dovetail beautifully on the mostly traditional ballads and work-songs.