The Independent (UK)'s Scores

  • Music
For 887 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 Saturn's Pattern
Lowest review score: 20 The Awakening
Score distribution:
  1. Negative: 17 out of 887
887 music reviews
    • 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.
    • 77 Metascore
    • 80 Critic Score
    Opening with urgent triplets, it settles into an elegant braiding of interlaced lines that push the music forward in waves.
    • 77 Metascore
    • 60 Critic Score
    The fingering and virtuoso touches, the deft harmonics, the subtle string-bends are all delivered with minimal fuss throughout, whether it's a solo piece like the wistful "Dery Miss Grsk", the Bach transposition "Cello Prelude In G", which works so well with his instrument or the jaunty ragtime of "Ugly James".
    • 77 Metascore
    • 60 Critic Score
    Rufus Wainwright believes this to be "the most pop album" he's ever made, and he's probably right, so long as you're thinking 1970s pop.
    • 77 Metascore
    • 100 Critic Score
    The Staves are like a distillation of all that's best about the folk heritages of England and America.
    • 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".
    • 77 Metascore
    • 60 Critic Score
    Not to everyone’s taste, but at its best Gamel fizzes with sonic imagination.
    • 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.
    • 77 Metascore
    • 80 Critic Score
    It's more of a return to her roots in the feisty Eighties punk-jazz outfit Rip, Rig + Panic.
    • 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.
    • 77 Metascore
    • 40 Critic Score
    There's an awful lot of music crammed into Plumb's 35 minutes, but it's rarely organized into the most attractive shapes - and on the few occasions it is, they alter course within seconds and head off in some less appealing direction.
    • 77 Metascore
    • 80 Critic Score
    Mogwai's score for the French TV series Les Revenants places certain restrictions on the band's style which, it must be said, work to their advantage.
    • 77 Metascore
    • 80 Critic Score
    [A] strange and compelling work.
    • 77 Metascore
    • 60 Critic Score
    With M Ward on guitar, Giant Sand's Thøger Tetens Lund on string bass, and Sonic Youth's Steve Shelley on brushed drums, the atmosphere is akin to a shabby cabaret, to which KT Tunstall and a sweet-voiced Bonnie "Prince" Billy add a touch of elegance.
    • 77 Metascore
    • 60 Critic Score
    Penguin Cafe’s music continuing to explore the more earthly pleasures to be found at the confluence of world, folk, minimalism and chamber music.
    • 77 Metascore
    • 60 Critic Score
    A nice place to visit, but you wouldn't want to live here.
    • 77 Metascore
    • 60 Critic Score
    New
    There's an uneven texture to the project. It's okay, but only just.