The Telegraph (UK)'s Scores

  • Music
For 664 reviews, this publication has graded:
  • 65% higher than the average critic
  • 3% same as the average critic
  • 32% lower than the average critic
On average, this publication grades 3.5 points higher than other critics. (0-100 point scale)
Average Music review score: 76
Highest review score: 100 An Appointment with Mr. Yeats
Lowest review score: 20 At Your Inconvenience
Score distribution:
  1. Negative: 2 out of 664
664 music reviews
    • 88 Metascore
    • 100 Critic Score
    Art Angels is made of the same dark candy, with even more weird and wonderful flavour combinations. I began to think of songs as three-minute gobstoppers in which layers dissolved unexpectedly.
    • 87 Metascore
    • 100 Critic Score
    It feels as bold and weird as anything in Bowie’s back catalogue, sure to delight some and infuriate others.
    • 87 Metascore
    • 100 Critic Score
    Happily, the words are wonderful and Something More Than Free is an album that grows and grows on you. Producer Dave Cobb is in fine action again and gets the best from the settings behind Isbell's effecting voice. Some of the songs are simply splendid.
    • 87 Metascore
    • 80 Critic Score
    Those same multilayered textures [in Loveless] are all here, and if anything there are more finely chiselled planes of fresh variation: there is a discipline as well as wildness behind the distortion.
    • 87 Metascore
    • 80 Critic Score
    Blonde makes for sensationally beautiful background music that can morph into a bizarre hodgepodge of disparate ideas when you concentrate on bringing it into the foreground.
    • 87 Metascore
    • 80 Critic Score
    This is an elegant, mature work of a songwriter and performer at the height of her powers.
    • 87 Metascore
    • 80 Critic Score
    After the wild beach party of 2007’s Volta and the shiny wonders of 2011’s Biophilia, Vulnicura is a windswept trek of a record. But one which gradually repays its difficulties with the raw exhilaration of survival.
    • 87 Metascore
    • 100 Critic Score
    Their return should be heralded from on high, because it is the boldest, smartest, most colourful and purely pleasurable dance album of this decade.
    • 87 Metascore
    • 80 Critic Score
    You feel each artist shares your yearning to hear Dalton sing each song herself. Haunted and haunting.
    • 87 Metascore
    • 80 Critic Score
    While this is in one sense African music like they don't make it any more, there's nothing precious or retro about it: its energy feels entirely modern.
    • 87 Metascore
    • 80 Critic Score
    This would all be simply infuriating were it not for the melodiousness that binds these strange sounds and images together, the feeling stirred up by Vernon’s voice, and his gift for chord progressions that sweep you along almost against your will.
    • 86 Metascore
    • 100 Critic Score
    For all its despair at the cost of war, this is not a protest record, rather a consideration of our place in the greater scheme of things.
    • 86 Metascore
    • 80 Critic Score
    Sturgill Simpson has recorded an interesting album about the lure of home. Musically, it's a bold step away from the excellent Metamodern Sounds in Country Music (there's more soul and brass in A Sailor's Guide to Earth) but the songwriting remains strong and beguiling.
    • 86 Metascore
    • 100 Critic Score
    This is an album that sounds like a world of music in itself.
    • 86 Metascore
    • 80 Critic Score
    There's a real grace about The Longest River, the debut album from self-taught multi-instrumentalist Olivia Chaney.
    • 86 Metascore
    • 80 Critic Score
    You have to be in the mood for Young Man In America but, when you are, you'll be rewarded by an absorbing album.
    • 86 Metascore
    • 100 Critic Score
    Scrub away reputations and this album is so much stronger than the latter-day works of many of Fay's contemporaries.
    • 86 Metascore
    • 80 Critic Score
    Process seems unlikely to make Sampha a household name in his own right. Yet it has a drama and intensity that should increase his influence on those who already are.
    • 86 Metascore
    • 100 Critic Score
    Once I Was An Eagle is a masterpiece, and, at 23, she’s still only getting started.
    • 86 Metascore
    • 80 Critic Score
    Songs maintain a facade of well-mannered, old-fashioned structures (waltz times and Fats Domino-style “swamp pop” piano bass) that gradually reveal murkier interiors restlessly inhabited by Jones’s unique, meandering ghost-child of a voice.
    • 86 Metascore
    • 100 Critic Score
    Cohen’s triumphant return to the live arena is reflected in the growling assuredness of his vocals. An absolute treat.
    • 86 Metascore
    • 70 Critic Score
    After The Ball, a classic waltz in 3/4 time and a song of heartbreak as powerful today as it was more than 120 year's ago, is just one highlight on this super musical history lesson.
    • 85 Metascore
    • 80 Critic Score
    His harmonies have a louche charm, his trumpet sound has a fascinating vocal intimacy, and he makes lightning-fast interplay with the quintet, especially sax player Walter Smith III.
    • 85 Metascore
    • 80 Critic Score
    It’s an adventure.
    • 85 Metascore
    • 100 Critic Score
    Bush is still making music that intrudes and abducts.
    • 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
    Splashes of new musical colour correspond with a growing confidence and maturity in the songs themselves, but the overall mood remains intensely vulnerable.
    • 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
    On Over and Even, which was produced by Daniel Martin Moore, she also sings harmony with Will Oldham and Glen Dettinger and allied to riveting guitar work, as it is on My Only Trouble, the result is terrific.