The Independent (UK)'s Scores

  • Music
For 903 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 LP1
Lowest review score: 20 Banks
Score distribution:
  1. Negative: 17 out of 903
903 music reviews
    • 85 Metascore
    • 80 Critic Score
    if it is to be his last communiqué, at least the old smoothie's going down swinging.
    • 85 Metascore
    • 100 Critic Score
    Even by Wilco’s adventurous standards, Star Wars is possibly the most unusual, exploratory work of the band’s existence.
    • 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.
    • 85 Metascore
    • 60 Critic Score
    For her third album as St. Vincent, Annie Clark has jettisoned the baroque string and woodwind arrangements that marked 2009's Actor, in favour of more direct, guitar-based settings.
    • 85 Metascore
    • 100 Critic Score
    On this, Gillian Welch's fifth album, the familiar blending of traditional sounds and moods with modern sensibilities is effortlessly sustained through songs like the mordant "The Way It Goes" ("Betsy Johnson bought the farm, stuck a needle in her arm, that's the way that it goes").
    • 85 Metascore
    • 60 Critic Score
    Musically, it's the same kind of electro R&B with which radio is already awash--in large part because it's produced by the same small coterie of hip producers, with Timbaland appearing to take the most prominent role amongst the likes of Detail, Jerome Harmon, Pharrell Williams and Ryan Tedder.
    • 84 Metascore
    • 100 Critic Score
    For the most part, this is an album that restores faith in the sheer joy of music.
    • 84 Metascore
    • 100 Critic Score
    The warm but haunting Trouble Will Find Me will surely cement their accession to the rock mainstream.
    • 84 Metascore
    • 80 Critic Score
    It’s not quite godlike, but Yeezus certainly feels like it was created by a higher power.
    • 84 Metascore
    • 60 Critic Score
    The impression is of someone picking obsessively at an emotional scab, which is effectively what The Wall is all about.
    • 84 Metascore
    • 80 Critic Score
    Nomad confirms Bombino's promise, but with a few added surprises.
    • 84 Metascore
    • 60 Critic Score
    Not an easy listen, but a satisfying one.
    • 84 Metascore
    • 80 Critic Score
    Dave Alvin's latest album may be his best yet, its tales of the flipside of the American Dream set to gritty blues riffs that speak of long months on the road.
    • 84 Metascore
    • 60 Critic Score
    While copious application of phasing offers a link to Tame Impala’s psychedelic roots, the absence of guitar wig-outs may disappoint some fans.
    • 84 Metascore
    • 80 Critic Score
    It's the most simple, directly dance-oriented they've been since Disco, putting down a marker for the rest of the album.
    • 84 Metascore
    • 60 Critic Score
    Experimentation is generally to be applauded, but too often here it works to the detriment of the songs.
    • 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.
    • 84 Metascore
    • 100 Critic Score
    There's an urgency and drive about these tracks that's simply exhilarating.
    • 84 Metascore
    • 60 Critic Score
    Bill Callahan's follow-up to 2011's gorgeous Apocalypse finds him in the company of a small, discreet band, whose gentle shuffles are coloured mostly by guitar, fiddle and flute, as his muse flits haphazardly about him. [The Independent scored this a 3/5 in the actual printed edition not 5/5 as seen on its online edition]
    • 84 Metascore
    • 80 Critic Score
    Martin Simpson applies his dazzling fingerstyle technique to a broad range of material.
    • 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.
    • 83 Metascore
    • 80 Critic Score
    On Blunderbuss, he's stumbled into some nasty business. These are songs of ruthless temptresses and treacherous men, of uncontrollable desire and unbearable guilt.
    • 83 Metascore
    • 40 Critic Score
    Sadly, this is about as deep as their politics go on Hot Sauce Committee Part Two, the more articulate sentiments of To the 5 Boroughs having been largely abandoned in favour of fairly standard bring-the-noise, boast'n'diss hip-hop pablum.
    • 83 Metascore
    • 80 Critic Score
    Plan B acquits himself remarkably well here.
    • 83 Metascore
    • 80 Critic Score
    Whether The Horrors will willingly pursue that same trajectory to its logical conclusion seems doubtful, but for now Skying finds them breaking free of old bindings, eyes set on the wild blue yonder.
    • 83 Metascore
    • 100 Critic Score
    Soul Time! is a near-perfect expression of retro-soul style that grips from its opening bars.
    • 83 Metascore
    • 100 Critic Score
    Centralia is by far the most satisfying release to date by the Brooklyn-based minimalist post-rock duo Mountains.
    • 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.
    • 83 Metascore
    • 100 Critic Score
    All told, it’s a magnificent, career-defining set, full of hard-won wisdom, assertive independence--and compassion in abundance.
    • 83 Metascore
    • 60 Critic Score
    It's a dub reimagining that takes the material further out, into a soundscape whose fractured dubstep tones, sped-up samples and drum'n'bass beats only occasionally work in its favour.