The Observer (UK)'s Scores

  • Music
For 834 reviews, this publication has graded:
  • 33% higher than the average critic
  • 3% same as the average critic
  • 64% lower than the average critic
On average, this publication grades 8.3 points lower than other critics. (0-100 point scale)
Average Music review score: 63
Highest review score: 100 Monomania
Lowest review score: 20 Kings & Queens of the Underground
Score distribution:
  1. Negative: 12 out of 834
834 music reviews
    • 70 Metascore
    • 60 Critic Score
    Stellar side projects often run the risk of sounding smug, but over these 12 varied selections, the Little Willies put the American songbook first.
    • 72 Metascore
    • 60 Critic Score
    They're such pretty songs, sung with sweet simplicity.
    • 69 Metascore
    • 60 Critic Score
    Finn's gift survives even the more uneven experiments.
    • 68 Metascore
    • 60 Critic Score
    A seductive reiteration of the precepts of attitudinal guitar pop. Or you could put it another way – it's derivative, audaciously so, but fun none the less.
    • 73 Metascore
    • 60 Critic Score
    It's a qualified success.
    • 71 Metascore
    • 60 Critic Score
    Too easy on the ear to be convincing – more getting deep round the campfire than genuine soul-baring – but highlights "Black Flies" and "Promise" are nice enough studies in soft-focus angst.
    • 62 Metascore
    • 60 Critic Score
    Lana Del Rey's partying is fuelled by a knowing sadness, and sung in that laconic, hypnotic voice, which ultimately saves this thoroughly dissolute, feminist nightmare of a record for the romantics among us.
    • 69 Metascore
    • 60 Critic Score
    Sadly, this album has as many misses as hits.
    • 80 Metascore
    • 60 Critic Score
    Borderline silly at times, it is nonetheless a carefully crafted piece of work with a distinctive sound.
    • 78 Metascore
    • 60 Critic Score
    The [resulting album] is an engaging collision of styles.
    • 80 Metascore
    • 60 Critic Score
    A beguiling decoction of pretty much everything going on in hipster musical circles, sweet and savvy and scary at the same time.
    • 77 Metascore
    • 60 Critic Score
    Field Music remain more impressive than lovable.
    • 57 Metascore
    • 60 Critic Score
    It's hardly a treasure trove of unreleased material but the tape hiss, traffic noise and acoustic arrangements make it an invitingly slackerish alternative.
    • 57 Metascore
    • 60 Critic Score
    Still sounds weird and abrasive in the best possible way.
    • 77 Metascore
    • 60 Critic Score
    Having lost the shock of the new, this more tuneful follow-up privileges Krauss's pop instincts over Miller's mayhem.
    • 75 Metascore
    • 60 Critic Score
    Whether it's vindication, or coming off the medication, How About I Be Me feels effervescent, even when the breezy love songs give way to more complex concerns.
    • 81 Metascore
    • 60 Critic Score
    There is a compelling talent here, turning his damage into something noble.
    • 77 Metascore
    • 60 Critic Score
    Sonik Kicks barrels along hectically, throwing out ideas like a particularly exuberant catherine wheel, though nothing ever quite matches the exquisite shock of that dub bliss-out [on "Study in Blue"].
    • 78 Metascore
    • 60 Critic Score
    You want this record to sell by the barrowload, but you might not actually want to play it that often.
    • 77 Metascore
    • 60 Critic Score
    Their songs on this, their third record, are more expansive, bolder and stranger than those that have come before.
    • 72 Metascore
    • 60 Critic Score
    A record that settles into a nicely crafted, twinkly retro rut without really grabbing you by anything more vital than your lapels; tweedy, bespoke, second-hand.
    • 69 Metascore
    • 60 Critic Score
    It feels like a natural progression from synthpop into more hard-edged material and robust pop sensibilities shine through amid the bleeps and filthy basslines.
    • 72 Metascore
    • 60 Critic Score
    Ample evidence of why Mercer's songs are so widely cherished. But there remains something a little clinical about the efficiency with which he dispatches these studies in perky wistfulness.
    • 83 Metascore
    • 60 Critic Score
    More immediate songs such as In the Same Room are ineffably breezy, while other tracks illustrate her handle on ancient Greece (This is Ekstasis) and the uncommon control she has over textures and motifs, atmospheres and vocoders.
    • 64 Metascore
    • 60 Critic Score
    It [the song "I'm a Sinner"] makes you crave her next album, not this one.
    • 75 Metascore
    • 60 Critic Score
    Bibb's tone is characteristically dignified.
    • 71 Metascore
    • 60 Critic Score
    While there are moments when everything falls into place (the Erykah Badu-assisted "Hey, Shooter"; a rare Albarn vocal on "Poison"; the sense of space on "Extinguished"), too often technical proficiency trumps songwriting.
    • 76 Metascore
    • 60 Critic Score
    A+E
    Sophisticated it's not but, by and large, it's thrilling, the guitarist's zest for life evident throughout.
    • 71 Metascore
    • 60 Critic Score
    Stewart remains a firebrand intent on creating skull-splintering sounds and society-skewering words.
    • 70 Metascore
    • 60 Critic Score
    More than anything Oberhofer's optimistic, melodious pop-rock, all "oohs" and "ooh-e-ooh-e-oohs", takes its cues from the Beach Boys.