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
    • 79 Metascore
    • 80 Critic Score
    [Title track "Mars" is] a rare misstep on an album that looks to both East and West, and reaches simultaneously into the past and the future.
    • 79 Metascore
    • 60 Critic Score
    Stockport quartet 10cc were, in this regard, the British equivalent of Steely Dan, applying advanced musical and lyrical skills initially to the humble task of sardonic pop pastiches like "Donna" and, as they developed, to the socio-political satires ("The Wall Street Shuffle", "Clockwork Creep") that made up their second album, Sheet Music.
    • 79 Metascore
    • 80 Critic Score
    As on the splendid West Ryder Pauper Lunatic Asylum, Kasabian talk a good fight with Velociraptor--and if the results don't quite bear out the bluster, that's probably more a reflection of the excellence of its predecessor than a measure of its own shortcomings.
    • 79 Metascore
    • 60 Critic Score
    The Menahan Street Band have proven a fertile sampling source for such as Jay-Z, Kid Cudi and 50 Cent, and it's not hard to tell why listening to the grooves on this latest album.
    • 79 Metascore
    • 60 Critic Score
    Set to a messy blend of waspish blues guitar and wild fiddle, it's a typically barbed, angry set.
    • 79 Metascore
    • 80 Critic Score
    This follow-up builds on the feisty freshness of Caitlin Rose's Own Side Now, her debut from 2010.
    • 79 Metascore
    • 80 Critic Score
    There's a pervasive haunted sense of loss and melancholy that links these 16 tracks together, giving Dedication a depth and elegance not often found in more dance-focused dubstep.
    • 79 Metascore
    • 60 Critic Score
    Let It All In is stylishly rendered in simple instrumental colours, but it's not the cheeriest of experiences.
    • 79 Metascore
    • 80 Critic Score
    Traveling Alone sounds like her best album yet.
    • 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.
    • 79 Metascore
    • 60 Critic Score
    Okay, but not much more.
    • 79 Metascore
    • 40 Critic Score
    Clearly, these New York math-rockers have yet to learn the values of de- cluttering, with most of these dozen pieces involving furious industry to no great advantage.
    • The Independent (UK)
    • 79 Metascore
    • 80 Critic Score
    It's the communal sentiment underlying such ostensibly personal heartache that gives Williams's songs much of their power, that draws the listener in as an emotional fellow-traveller.
    • 79 Metascore
    • 100 Critic Score
    An engagingly outre delight.
    • 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.
    • 79 Metascore
    • 60 Critic Score
    It's impressive, slick alienation for the Y Generation, but as with Del Rey, it's a one-trick-pony sort of act.
    • 79 Metascore
    • 40 Critic Score
    It's confessional solipsism, lacking the musical compulsion to make one care.
    • 79 Metascore
    • 40 Critic Score
    The problem with albums about depression is that they are the most literal exposition of the principle that an artist has suffered for their work, and now it’s our turn--and doubly so when it’s a 90-minute punk-opera wrenched screaming from their very soul, as here.
    • 79 Metascore
    • 80 Critic Score
    Electric finds Richard Thompson at his most stripped-down and potent.
    • 79 Metascore
    • 60 Critic Score
    Jim Moray's filtering of traditional folk music through a mesh of modern sensibilities continues on Skulk.
    • 79 Metascore
    • 60 Critic Score
    Wagner's hesitant delivery is poignantly underscored by Tidwell's more emotive phrasing, while the arrangements of neat picking and weeping fiddle are applied with customary understatement.
    • 79 Metascore
    • 80 Critic Score
    With Björk and Longstreth sharing lead vocals, and instrumental contributions pared back to just a few drones and pulses, the result is a fascinating evocation of Orcan existence, implicitly acknowledging the entire planet as a home.
    • 79 Metascore
    • 80 Critic Score
    Zeffira's facility with reeds, keys and strings ensures constantly interesting textural shifts, while the combination of Badwan's imperious, Scott Walker-esque baritone and Zeffira's varied vocal stylings recalls not just Lee Hazlewood & Nancy Sinatra but even the effervescent charm of The B-52s.
    • 79 Metascore
    • 100 Critic Score
    Caustic Love may be the best UK R&B album since the 1970s blue-eyed-soul heyday of Rod Stewart and Joe Cocker.
    • 78 Metascore
    • 80 Critic Score
    For a while on this overlong album, he brings something new to the usual hip-hop parade of brandy and bitches, lasciviousness and loyalty.
    • 78 Metascore
    • 40 Critic Score
    The three-year gap between albums will ensure this tops next week's album chart, but it's a drab, unrewarding experience.
    • 78 Metascore
    • 60 Critic Score
    Sometimes the recurrent mood of ecstatic affirmation of life that's evident in her singing can be short-changed by arrangements that fuss to no great purpose, dissipating their impact in brittle beats and pointless detail.
    • 78 Metascore
    • 40 Critic Score
    It's mainly brusque and strident raunch-rock, with an unappealing cajoling tone that virtually dares you not to find the songs clever and the hooks contagious.
    • 78 Metascore
    • 60 Critic Score
    Gently wrought from strands of acoustic guitar, mandolin, violin and harp, encountering the genteel Demolished Thoughts after Thurston Moore's more abrasive work with Sonic Youth is akin to hearing Paris 1919 after John Cale's rampaging Velvet Underground period.
    • 78 Metascore
    • 80 Critic Score
    As a swansong, it's as fine as might be expected given the circumstances.