The Telegraph (UK)'s Scores

  • Music
For 511 reviews, this publication has graded:
  • 64% higher than the average critic
  • 3% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 2.7 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 Synthetica
Lowest review score: 20 At Your Inconvenience
Score distribution:
  1. Negative: 2 out of 511
511 music reviews
    • 85 Metascore
    • 100 Critic Score
    This album is a musical gumbo: a rich, surprising and ultimately satisfying stew of Simon's folk, rock and pop influences from all over the world.
    • 85 Metascore
    • 100 Critic Score
    This set is a fine reminder of his magnificent legacy of film work.
    • 85 Metascore
    • 80 Critic Score
    Pecknold enthusiastically revealed how the album was a direct result of his indulgence in MP3 piracy, as he tracked back to discover Fairport Convention, Roy Harper, Crosby, Stills & Nash, Joni Mitchell, Paul Simon, Bob Dylan and all the heroes of the Sixties folk boom.
    • 85 Metascore
    • 100 Critic Score
    American Kid is a triumph of songwriting and expressive singing.
    • 85 Metascore
    • 100 Critic Score
    It is, in short, and as we might have expected, a work of genius.
    • 85 Metascore
    • 100 Critic Score
    Her approach is confident and challenging, but not arch – several direct, haunting love songs are as delicate and affecting as any Adele tear-jerker.
    • 85 Metascore
    • 100 Critic Score
    There cannot be another musical duet around at the moment who are able to make two acoustic guitars and two voices produce a sound that is so subtle and yet powerful.
    • 85 Metascore
    • 80 Critic Score
    For all its length (16 tracks) and elaborate staging (with videos for every song), the album has a focus and intensity unusual in multi-writer ensemble productions, a sense of purposefulness that holds the attention even when the songs sometimes drift off in search of a chorus.
    • 84 Metascore
    • 100 Critic Score
    The result is the gorgeous Tomorrow is My Turn, which shows off the full singing range and power of the frontwoman for innovative string-band trio the Carolina Chocolate Drops.
    • 84 Metascore
    • 80 Critic Score
    This is music that is following its own agenda, whose funky energy is innate. It’s been absorbing external influences for centuries and is keeping on doing so in today’s crazy, accelerated postmodern world.
    • 84 Metascore
    • 80 Critic Score
    It's great to have Lee Ann Womack back with such a sad and lovely album.
    • 84 Metascore
    • 60 Critic Score
    There is a neat cover of Creedence’s Have You Ever Seen the Rain but the best songs are her own heartfelt and brooding country ones.
    • 84 Metascore
    • 100 Critic Score
    At first listen it sounds messy, but the more you play it, the more inspired and essential each brutal interruption becomes.
    • 84 Metascore
    • 80 Critic Score
    He made this latest emotionally and intellectually supple album specifically for that dance community.
    • 84 Metascore
    • 100 Critic Score
    Electric is the second really fantastic pop-dance blast of the year.
    • 84 Metascore
    • 100 Critic Score
    It is not reinventing the pop wheel but everything is done with an appealing combination of taste and passion.
    • 84 Metascore
    • 80 Critic Score
    Each track has a timeless quality, as suited to a Seventies mid-west saloon as a students' indie disco.
    • 84 Metascore
    • 80 Critic Score
    What you get is pure and fluent Simpson musicianship.
    • 84 Metascore
    • 100 Critic Score
    The songwriting class shows. In addition, the musicianship is top notch.
    • 84 Metascore
    • 80 Critic Score
    They do owe a musical debt to Ali Farka Toure (whose songs they started out covering), but they’re definitely etching out their own groove.
    • 83 Metascore
    • 100 Critic Score
    From its raucous, raw-edged opening salvo to the softer, weirder, ruminative closing tracks, Blunderbuss crackles with life and energy, hauling roots rock out of the dusty museum and into the dazzling light of the modern day.
    • 83 Metascore
    • 60 Critic Score
    Full of groove and grit, it's raw and enjoyable.
    • 83 Metascore
    • 100 Critic Score
    On a production level, this album is cutting-edge, on a lyrical level it is brutally brilliant. It will melt your ears and your heart.
    • 83 Metascore
    • 60 Critic Score
    Yet for all its exuberant DIY spirit, Young Fathers’ songs sound like another bunch of interesting demos, full of passion, spontaneity and left-field inspiration, but too often failing to really nail the song or message down.
    • 83 Metascore
    • 60 Critic Score
    The result is never maudlin, but big, bouncy and entertaining.
    • 83 Metascore
    • 60 Critic Score
    Although some of his anecdotes could drag on repeated listening, he is an engaging raconteur.
    • 83 Metascore
    • 80 Critic Score
    It's a fun-loving, tune-heavy indie/punk/pop romp, with girlie la-la harmonies, a none-more-cheesy organ sound, and welcome vocal echoes of Britpop femmes Elastica and new wave heroine Lene Lovich.
    • 83 Metascore
    • 80 Critic Score
    Harlem River Blues (Bloodshot Records) ranks alongside the best American roots music being made at the moment and his concerts should not be missed.
    • 83 Metascore
    • 80 Critic Score
    What makes it so compelling is a classic rock Americana set up deftly interweaving lazy twin guitars and splashes of Hammond organ over steady rolling chord progressions that gather power with each repetition.
    • 83 Metascore
    • 100 Critic Score
    Creating a 21st-century album that is still able to deal in an original and touching way with the big and interesting subjects of love and death is a trick that many folk and country musicians try to pull off and few achieve, especially in the impressive way that Gretchen Peters does with her 2015 album Blackbirds.