The Independent (UK)'s Scores

  • Music
For 839 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 6.1 points lower than other critics. (0-100 point scale)
Average Music review score: 65
Highest review score: 100 Nothing Is Wrong
Lowest review score: 20 London with the Lights On
Score distribution:
  1. Negative: 16 out of 839
839 music reviews
    • 71 Metascore
    • 80 Critic Score
    Thankfully, he's well advised: the material is carefully chosen to exploit his abilities.
    • 84 Metascore
    • 80 Critic Score
    An album, that restores to R&B some of the adult concerns that powered the genre through its '70s golden era.
    • 72 Metascore
    • 80 Critic Score
    This is actually one of the Lips' more coherent efforts, despite its wild diversity and devil-may-care attitude.
    • 79 Metascore
    • 80 Critic Score
    There's a simplicity about these previously unreleased demos that's utterly beguiling, the spare settings allowing the sweeter side of George Harrison's character to shine unencumbered by studio blandishments.
    • 81 Metascore
    • 80 Critic Score
    Patti Smith's latest album, her best in a while, is held together by a spine of pieces themed around exploration.
    • 82 Metascore
    • 80 Critic Score
    The confessional, autobiographical elements that are its strongest aspect also serve as its Achilles' heel: the whole enterprise depends on how fascinated the listener is with Rowland's psyche.
    • 79 Metascore
    • 80 Critic Score
    This is such an improvement on 2010's enervated One Life Stand that one can only conclude their various sabbatical projects have rejuvenated their creative juices.
    • 80 Metascore
    • 80 Critic Score
    It's been a long time coming, and all the more welcome for it.
    • 72 Metascore
    • 80 Critic Score
    With his new Brotherhood, he's finally found the ideal vehicle to indulge his taste for "Cosmic California Music".
    • 77 Metascore
    • 80 Critic Score
    It's more of a return to her roots in the feisty Eighties punk-jazz outfit Rip, Rig + Panic.
    • 80 Metascore
    • 80 Critic Score
    Mutual Friends, a loose song-cycle, is entirely winning.
    • 78 Metascore
    • 80 Critic Score
    Imaginative and innovative in equal measure.
    • 73 Metascore
    • 80 Critic Score
    It's a lovely, warm-hearted gem.
    • 73 Metascore
    • 80 Critic Score
    For all his production skills, he remains first and foremost a vocal stylist of considerable ability.
    • 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.
    • 69 Metascore
    • 80 Critic Score
    Stone delivers what may be his masterpiece in Broken Brights, an album that seamlessly inhabits the resurgent Laurel Canyon sound.
    • 76 Metascore
    • 80 Critic Score
    Grasscut push the electropop envelope in intriguing new directions with Unearth, its songs inspired by alliances of people, poetry and places.
    • 83 Metascore
    • 80 Critic Score
    Plan B acquits himself remarkably well here.
    • 72 Metascore
    • 80 Critic Score
    Few musicians ever achieve such complete dominance and superiority on their instrument as Jerry Douglas: not a single voice is raised in challenge to Douglas's mastery of the dobro. This latest, guest-laden album shows why.
    • 77 Metascore
    • 80 Critic Score
    The tone here is more robust than [Pull Up Some Dust and Sit Down's] thoughtful reflections on history and poverty, taking its cue rather from the ribald pillorying of conservatives in tracks like "No Banker Left Behind" and "I Want My Crown".
    • 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.
    • 83 Metascore
    • 80 Critic Score
    It's on "Early Roman Kings" that the various strains come together most effectively, with Hidalgo's organ added to another Muddy Waters blues-stomp groove, and Dylan blurring history again in his depiction of the titular Romans "in their sharkskin suits, bowties and buttons, with their high-top shoes" – neatly underlining the gangsterism of imperial invaders of all eras.
    • 76 Metascore
    • 80 Critic Score
    On their sixth album, Calexico finally sound more like a band with memorable, individual songs, than a project dedicated to creating audio soundscapes evocative of the American southwest.
    • 87 Metascore
    • 80 Critic Score
    Bouger Le Monde offers a celebration of life.
    • 77 Metascore
    • 80 Critic Score
    There's a danger of art-rock overload in this alliance of two cerebral music talents, but Love This Giant succeeds remarkably well.
    • 78 Metascore
    • 80 Critic Score
    Most B-sides compilations seem to have been thrown together to fulfill contracts but Dead In The Boot has a form and substance beyond that.
    • 70 Metascore
    • 80 Critic Score
    The folksy settings are tinted with brooding strings and tearful pedal steel, adding colour to well-turned lines.
    • 76 Metascore
    • 80 Critic Score
    T-Bone Burnett renders mostly old jazz numbers with a blend of period feel and modern fidelity, so they're "in the tradition" without sounding antique.
    • 79 Metascore
    • 80 Critic Score
    Traveling Alone sounds like her best album yet.
    • 73 Metascore
    • 80 Critic Score
    The more languid, erotic performances are balanced by ones on which Deantoni Parks' drums dictate the mood through their rattling, martial bustle.