The Independent (UK)'s Scores

  • Music
For 858 reviews, this publication has graded:
  • 43% higher than the average critic
  • 3% same as the average critic
  • 54% lower than the average critic
On average, this publication grades 6 points lower than other critics. (0-100 point scale)
Average Music review score: 66
Highest review score: 100 LP1
Lowest review score: 20 In Case You Didn't Know
Score distribution:
  1. Negative: 17 out of 858
858 music reviews
    • 78 Metascore
    • 80 Critic Score
    As a swansong, it's as fine as might be expected given the circumstances.
    • 78 Metascore
    • 60 Critic Score
    There's a familiar elemental tone to the Dirty Three's latest album – except this time the oceanic influence is replaced by snow and sky and rain.
    • 78 Metascore
    • 80 Critic Score
    Well-made mid-American roots-rock by a young Oklahoman, who may harbour legitimate Springsteen/Fogerty fantasies.
    • 78 Metascore
    • 80 Critic Score
    Rising US indie combo Parquet Courts make giant strides on this third outing, where they locate an effective nexus where grunge meets meets avant-rock in colourful pop livery.
    • 78 Metascore
    • 100 Critic Score
    [Wrecking Ball is] unquestionably his most potent album so far this century.
    • The Independent (UK)
    • 78 Metascore
    • 80 Critic Score
    It's all as ludicrous, graceless and unlovely as the "sport" it hymns, yet there's an anachronistic boot-boy charm to Haines's depiction of the milieu that's genuinely affecting, as well as amusing.
    • 78 Metascore
    • 60 Critic Score
    Sun
    On [Cat Power] Marshall has changed direction yet again, abandoning her soul charm for something much less appealing.... But her natural grace shines through on "3, 6, 9"... and "Ruin."
    • 78 Metascore
    • 80 Critic Score
    Gudmundur Kristinn Jónsson's production envelops Asgeir's fragile gifts in delicately wrought arrangements.
    • 78 Metascore
    • 80 Critic Score
    Go-Go Boots is the promised "R&B Murder Ballad Album" recorded concurrently with last year's The Big To-Do, and it's every bit as good as that description suggests.
    • 78 Metascore
    • 80 Critic Score
    Anthony Hamilton provides another [highlight], bringing a gospelly spirit to “Gently” Elsewhere, Raphael Saadiq and Gary Clark Jr lend their talents to the great party groove “Fun”.
    • 78 Metascore
    • 60 Critic Score
    The pair have weaved Anderson's songs together with various ambient elements--traffic noise, birdsong, the tinkle of teacups on saucers--to create a song-cycle that illuminates the exceptional in the everyday.
    • 78 Metascore
    • 60 Critic Score
    Mindset is short by Necks standards--just two tracks of 22 minutes each--but it is typically involving.
    • 78 Metascore
    • 60 Critic Score
    The engaging mood is further enhanced by Condon's baffling but beautiful lyrics.
    • 78 Metascore
    • 60 Critic Score
    Produced in understated manner by Tucker Martine, the songs' clean pop lines are revealed with the minimum of decorative detail.
    • 78 Metascore
    • 80 Critic Score
    Wareham's fragile delivery imparts an eggshell vulnerability to songs that track contemporary anxieties, such as "The Deadliest Day Since the Invasion Began", but finds its natural home in the lilt of the Incredible String Band's "Air".
    • 78 Metascore
    • 80 Critic Score
    Fanfare offers a classy rumination on modern values--albeit something of a conundrum, in being perhaps the most sophisticated celebration of simplicity ever recorded.
    • 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.
    • 78 Metascore
    • 40 Critic Score
    Pleasantly undemanding for a few tracks, the album just seems to evaporate away halfway through, as if even its creators couldn't retain interest in it, either.
    • 78 Metascore
    • 80 Critic Score
    Imaginative and innovative in equal measure.
    • 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.
    • 78 Metascore
    • 80 Critic Score
    Blixa Bargeld's collaboration with Italian composer Teho Teardo finds him in fine fettle on a group of typically sardonic songs set to unusual string and electronic arrangements performed with The Balanescu Quartet.
    • 78 Metascore
    • 80 Critic Score
    There is a strangely addictive quality to hearing something quite so aggressively sui generis as this.
    • 78 Metascore
    • 60 Critic Score
    A trio of absorbing driftworks.
    • 78 Metascore
    • 60 Critic Score
    It's Springsteen territory, occupied with pride in songs like “21st Century Blues” and the elegiac closer “Remember Me”.
    • 78 Metascore
    • 100 Critic Score
    Comprising equal parts Stones raunch and REM-style country-rock, songwriters Patterson Hood and Mike Cooley are working at the peak of their powers.
    • 78 Metascore
    • 80 Critic Score
    She's surely destined to become one of the voices of the year, while her accomplices' subtle confections of minimal electro throbs and stripped-back beats has an alluring simplicity that's like a refreshing, palate-cleansing sorbet.
    • 78 Metascore
    • 60 Critic Score
    It’s both mesmerically appealing and cacophonously repellent, a paradoxical blend repeated in the shrill, thrumming monotony of “Austerity Blues”.
    • 77 Metascore
    • 80 Critic Score
    Beautiful, blissful melodies are buried in there.
    • 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.
    • 77 Metascore
    • 60 Critic Score
    On their tribute to The Everly Brothers, Bonnie “Prince” Billy and Faun Fables' Dawn McCarthy avoid the obvious hits in favour of more unfamiliar items from the brothers' repertoire.