The Telegraph (UK)'s Scores

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For 1,227 reviews, this publication has graded:
  • 63% higher than the average critic
  • 4% same as the average critic
  • 33% lower than the average critic
On average, this publication grades 4 points higher than other critics. (0-100 point scale)
Average Music review score: 77
Highest review score: 100 Blue Eclipse
Lowest review score: 20 Killer Sounds
Score distribution:
  1. Positive: 874 out of 1227
  2. Mixed: 351 out of 1227
  3. Negative: 2 out of 1227
1227 music reviews
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    • 100 Metascore
    • 60 Critic Score
    Revolver Special Edition (Super Deluxe) [Box Set]
    The new version certainly sounds fuller, brighter and deeper, but unless you are a committed audiophile with studio standard hi-fi, most listeners could achieve a similar experience by turning up the volume, or perhaps investing in a pair of decent headphones. All interest therefore lies in extra tracks, which are not so much outtakes as works in progress – as the Beatles settled on arrangements, they would continually build on their chosen version. ... The truth is that the Beatles released everything they considered worthy whilst they were together, leaving nothing of outstanding quality in the vault.
    • 92 Metascore
    • 60 Critic Score
    Blur 21
    The five and a half hours of unreleased demos/live recordings do give a warmly inclusive insider's feel but there's nothing I'd listen to more than a couple of times.
    • 91 Metascore
    • 60 Critic Score
    Guts
    Unfortunately, most of Guts sounds like a simple continuation of Sour – there is little musical growth or thematic change, with Making the Bed and Pretty Isn’t Pretty seeming like mere overhangs from her debut
    • 90 Metascore
    • 60 Critic Score
    Rio [Live]
    There are good things here, but nothing especially new.
    • 89 Metascore
    • 40 Critic Score
    Dear Scott
    Shackled by its own turgid competency, Dear Scott fizzes with all the life of a demo tape recorded in a local community hall double-booked with a bingo night. No matter how loud you turn up the volume, it still sounds quiet. It sounds uncomfortably naked, too.
    • 87 Metascore
    • 60 Critic Score
    Norman Fucking Rockwell!
    Yet the over-riding sense of her almost unremittingly sombre sixth album, Norman F______ Rockwell!, is of Del Rey shedding veils of production mystery at the risk of being revealed as just another over sensitive and particularly self-absorbed singer-songwriter.
    • 87 Metascore
    • 60 Critic Score
    Now and Then [Single]
    There are lovely instrumental passages, lustrous strings, and it has all been crafted with love and care, but it doesn’t hit the heights we expect from a great Beatles ballad, ending up sounding like a poor imitation of genius, the kind of soft rock whimsy you’d find on thousands of second-rate Beatle influenced albums in the Seventies.
    • 86 Metascore
    • 60 Critic Score
    Live at the El Mocambo
    This is the Stones’ 12th live album. Do we need another one? Not really. Live at the El Mocambo is one for dedicated fans and completists, but it’s a fascinating snapshot of a band in transition – and great fun.
    • 85 Metascore
    • 60 Critic Score
    Gigi's Recovery
    Full of safe risks, Gigi’s Recovery is very much a transitional album as The Murder Capital look to evolve without alienating their fanbase. Doors are left wide open for subsequent reinventions but for now, the five-piece are comfortable sticking close-by what they know.
    • 84 Metascore
    • 60 Critic Score
    Down to Believing
    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.
    • 83 Metascore
    • 60 Critic Score
    Petals for Armor
    Whilst Paramore's music tends to be all rage and release, solo Williams offers something much more quirky and cerebral, delving poetically and occasionally combatively into her insecurities. The elaborate intricacy of writing and production may be a lot to take in for all but devoted fans.
    • 83 Metascore
    • 60 Critic Score
    3.15.20
    At its best, the grooves have the funky plasticity of an electro-Prince, sprinkled with baffling but thought-provoking lyrics. At its laziest, it sounds like a mumble rapper warming up over a jam whilst doing throat exercises. It's got groove though, and enough mysterious depths to warrant further investigation if you should somehow find yourself stuck at home with nothing better to do.
    • 83 Metascore
    • 60 Critic Score
    Hot Sauce Committee, Pt. 2
    Full of groove and grit, it's raw and enjoyable.
    • 83 Metascore
    • 60 Critic Score
    White Men Are Black Men Too
    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
    Wounded Rhymes
    The result is never maudlin, but big, bouncy and entertaining.
    • 83 Metascore
    • 60 Critic Score
    Live: The Storyteller
    Although some of his anecdotes could drag on repeated listening, he is an engaging raconteur.
    • 83 Metascore
    • 60 Critic Score
    The Show
    Horan’s sound of choice is much more understated, typically revolving around folky, acoustic strings and soft vocals. The Show, his third solo offering, is more of the same.
    • 82 Metascore
    • 60 Critic Score
    The Rose of Roscrae
    It's a sprawling beast of an album and a remarkable piece of creativety from 68-year-old Russell.
    • 82 Metascore
    • 60 Critic Score
    Drop Cherries
    A confident, interesting and accomplished album. But Marten is operating in a crowded field. Weyes Blood, Nina Nastasia, Lana Del Rey and Marling all plough similar furrows.
    • 82 Metascore
    • 60 Critic Score
    Utopia
    Simultaneously beautiful and befuddling, dazzling and irritating, Utopia has something of Stravinsky or Stockhausen about it. On some level, it may be a work of brilliance, but I suspect it is too far adrift from the rest of pop culture to appeal to anyone but a Björk devotee.
    • 82 Metascore
    • 60 Critic Score
    Viva Las Vengeance
    A fun, enjoyable vessel that spotlights a magnetic talent. The music might not entirely be Panic! at the Disco’s own – but like fellow Vegas bigwig Elvis, that’s clearly no barrier.
    • 82 Metascore
    • 60 Critic Score
    Before Love Came To Kill Us
    It is edgy fun with pitch-black humour masking real emotional content, although the tension between the darkness of the lyrics and sweetness of the vocals wears thin over a whole album.
    • 82 Metascore
    • 60 Critic Score
    City of Refuge
    Although something of a melting pot, this is an original and accessible album, blending world influences with old time American music.
    • 82 Metascore
    • 60 Critic Score
    Past Life Martyred Saints
    Blending hi-tech and lo-fi, modern synthesised sound and old-fashioned song writing, her work plumbs torrid emotional depths, similar to alt-rock stars such as Lou Barlow.
    • 82 Metascore
    • 60 Critic Score
    Shufflemania
    An English one-off, in fine voice.
    • 82 Metascore
    • 60 Critic Score
    The Secret
    While Touré acquits himself imaginatively in a variety of settings, the whirring, jangling opener Sokosondou, with just his own musicians, feels the most compelling track.
    • 81 Metascore
    • 60 Critic Score
    At the BBC
    For every perfectly observed vignette of English life (Sunny Afternoon, Autumn Almanac) and pithily satirical narrative (Village Green Preservation Society, Dead End Kids) there's a clunking, unwieldy, elaborate novelty song (Supersonic Rocket Ship, Skin & Bone).
    • 81 Metascore
    • 60 Critic Score
    10,000 Gecs
    100 gecs can also be (perhaps willfully) irritating. ... At their strongest, though – as on punky standout Doritos And Fritos – 10,000 gecs is a wonderful exercise in letting creativity run amok with no rules at all and carefully catching the resultant gold.
    • 81 Metascore
    • 60 Critic Score
    If I've Only One Time Askin'
    He brings real feeling to his own compositions such as Let Me Sleep (At the end of a Dream).
    • 81 Metascore
    • 60 Critic Score
    Indian Ocean
    An enjoyable and soulful album, the highlight of which is the title track Indian Ocean.
    • 81 Metascore
    • 60 Critic Score
    A History of Insolence
    There is plenty of passion in songs about Tennessee striking miners in the Thirties, or about the English Civil War.
    • 81 Metascore
    • 60 Critic Score
    Fortune
    Rod Picott achieves his aim of making an authentic studio version of his live shows in his new album Fortune. The material is sometimes contemporary.
    • 81 Metascore
    • 60 Critic Score
    Another Self Portrait 1969-1971: The Bootleg Series, Vol. 10
    Some of it is boring and the two songs from his George Harrison session chug along forgettably. But I’d swap my unloved copy of Self Portrait for this box set any day.
    • 81 Metascore
    • 60 Critic Score
    The Lion's Roar
    There's a nourishing warmth in their bittersweet laments.
    • 81 Metascore
    • 60 Critic Score
    Metals
    Nothing on this, her fourth album, rivals that hit [1234] for toe-tapping immediacy, but it is rich in atmospheric beauty.
    • 81 Metascore
    • 60 Critic Score
    Reverie
    It's a fully-acoustic affair (guitar, piano, upright bass, drums, etc), with a luxurious, live-combo presence and some gruff musings on time, humanity and music.
    • 81 Metascore
    • 60 Critic Score
    ForeverandEverNoMore
    As you’d expect from one of Britain’s most cerebral and celebrated sonic adventurers, this isn’t the kind of music you can hum in the bath. It’s challenging, other-worldly and thought-provoking.
    • 81 Metascore
    • 60 Critic Score
    I Am Easy to Find
    This is bold, weird, beautiful stuff, but the listener has their work cut out getting to it. Ironically, the core of I Am Easy to Find is not particularly easy to find. At all.
    • 81 Metascore
    • 60 Critic Score
    Mercy
    Mercy is not an easy listen, but it is nevertheless inspiring to hear an octogenarian artist declining the comforts of nostalgia, still forging his own wayward path, opening byways for others to explore at their leisure.
    • 80 Metascore
    • 60 Critic Score
    Hermitage
    It may be just another Ron Sexsmith album about the romance of the everyday but that could be just the balm your spirits need in troubled times.
    • 80 Metascore
    • 60 Critic Score
    Gemini Rights
    On Gemini Rights, his second solo album proper, Lacy returns to a familiar well of sexy debauchery and smooth licks, while unpicking the emotional aftermath of a recent break-up.
    • 80 Metascore
    • 60 Critic Score
    Surrender
    The album feels longer than its 12 tracks, and frequently verges on overblown. But perhaps that’s the point. Surrender leans so hungrily into its sonic vision of maximal catharsis that the album soon embodies its title – and propels you into doing the same.
    • 80 Metascore
    • 60 Critic Score
    Give My Love to London
    Failing to commandeer some stormy rockers, Faithfull proves most evocative on a couple of tender, stripped back ballads, Love More Or Less (written with Tom McRae) and Nick Cave collaboration Deep Water.
    • 80 Metascore
    • 60 Critic Score
    Quickening
    An atmospheric ode to the anxieties and rewards of new fatherhood on his debut solo album.
    • 80 Metascore
    • 60 Critic Score
    Palomino
    More of this crooned gothic gospel, like a Nick Cave/PJ Harvey murder ballad, would be welcome in an album that can dip too often into cheesy, handclapping sentimentality. First Aid Kit have the dynamic songwriting and performance mettle to deliver more nuanced, exploratory terrain than Palomino offers.
    • 80 Metascore
    • 60 Critic Score
    Triplicate
    Occasional lines jerk out of the mix as Dylan struggles for control of his vocal chords. But his unique phrasing and delivery is usually right on the nose of the song’s meaning.
    • 80 Metascore
    • 60 Critic Score
    Did You Know That There's a Tunnel Under Ocean Blvd.
    It is either the sound of someone who has begun to believe her own publicity, or who has stopped caring what anyone else thinks and is determined to follow her muse wherever it wanders. There’s a fine album lurking amidst the indulgence but listeners have their work cut out trying to locate it.
    • 80 Metascore
    • 60 Critic Score
    One Breath
    One Breath may not be a masterpiece but it does enough to suggest she has a chance of making one someday.
    • 79 Metascore
    • 60 Critic Score
    So Much (For) Stardust
    When Fall Out Boy are in top gear, they’re timeless: if only this whole album had cut some of the filler, it could have been a stellar return to form.
    • 79 Metascore
    • 60 Critic Score
    The Hope Six Demolition Project
    This began life as an art project at Somerset House, with Harvey composing and recording in a makeshift studio before a viewing public. Such pressurised circumstances might explain the absence of any sense of real pleasure in the finished work. I don’t hesitate to hail it as impressive but it does feel more civic project than classic album.
    • 79 Metascore
    • 60 Critic Score
    Hellfire
    While still manic in its tempo-changing lunacy, Hellfire is more approachable and organised, as the production by sometime Björk engineer Marta Salogni asserts a certain order amid the vari-speed chaos.
    • 79 Metascore
    • 60 Critic Score
    D
    The confidence of this Texan trio's last effort (2009's Fits) is lacking on their first major-label release.
    • 79 Metascore
    • 60 Critic Score
    Late Developers
    Upon the first few listens, it’s a confusing album: there’s plenty of their usual sing-song melodies and musings on modern dissatisfaction, such as on When We Were Very Young. ... But it’s the synth-laden, poptastic I Don’t Know What You See In Me that seems glaringly out of place.
    • 79 Metascore
    • 60 Critic Score
    I Love the New Sky
    As it shifts from the McCartneyesque soft rock of Sweetheart Mercury to the psychedelic mantra of The Warhol Me and very Sparks-like piano chamber pop of Comme D’Habitude, everything tends to sound a bit like something you might have heard before being lovingly recontextualized.
    • 79 Metascore
    • 60 Critic Score
    Wanderer
    Wanderer is an album of peculiar little songs that you won't hear in anyone else's catalogue. It is ungainly, odd, and at times almost amateurish. For some, Cat Power will always sound slightly unfinished. For others, it is exactly that quality that makes her records ring with raw truth.
    • 79 Metascore
    • 60 Critic Score
    Psychedelic Pill
    It's a loose album, an indulgent album, and not all likeable but, unlike any other outfit of their tenure, they maintain a raw punch as if recording in a local bar for the sheer blast of it.
    • 79 Metascore
    • 60 Critic Score
    Everything Changes
    She shows in Everything Changes that she can keep up with the times.
    • 79 Metascore
    • 60 Critic Score
    N.K. Pop
    N.K-Pop will be a treat for Heaton’s fans. But it could probably use a little K-Pop power if he harbours any desire to reach and preach to the unconverted.
    • 79 Metascore
    • 60 Critic Score
    Sunrise Bang Ur Head Against tha Wall [EP]
    Her vocals remain powerful: from soaring operatic drama to persuasive pop melody and an ominous snarl; it doesn’t sound like she’ll take “nein” for an answer on the spacey synths of Gib Mir Deine Liebe. On the English-language tracks, her lyrics sometimes sound gauche, but the sentiments ring true, and her guest-list is enjoyably far-ranging.
    • 79 Metascore
    • 60 Critic Score
    Dancing Queen
    It is a testament to just how utterly robust these songs are that the results are, inescapably, joyous. The recordings have been given a bit of digital oomph, with all the sounds polished and honed, and levels kicked up a notch, so the result is dense and shiny, with a relentlessly modern attack.
    • 79 Metascore
    • 60 Critic Score
    Ignorance Is Bliss
    The atmosphere is ultimately so paranoid and competitive, he makes being a rap star sound exhausting. Ignorance Is Bliss is at its most interesting when Skepta's volatile emotional state pushes to the surface of his combative persona.
    • 78 Metascore
    • 60 Critic Score
    Love Is Magic
    They are peppered with witty lines but, like an over-repeated punchline, the humour wears thin. For all its gorgeous highlights and overall brilliance, Love Is Magic is an album that is hard to love.
    • 78 Metascore
    • 60 Critic Score
    Take Care
    The result is both silkily seductive and moodily narcissistic.
    • 78 Metascore
    • 60 Critic Score
    A Star Is Born [Original Motion Picture Soundtrack]
    Nelson co-writes many of Gaga’s songs too, which essay a slightly awkward journey from rock balladry to slickly superficial pop. In one sense, there is a tangible jump in standards as Gaga comes to the fore on the second half of the album--she is a major musical talent. But there is also a weird disconnect as the soundtrack shifts gear to anodyne modern pop.
    • 78 Metascore
    • 60 Critic Score
    The Haunted Man
    ADespite occasionally drawing blood, The Haunted Man doesn't live up to its stripped and dangerous cover, often retreating to gambol about in the backwaters of Khan's imagination.
    • 78 Metascore
    • 60 Critic Score
    The Dreamer
    The Dreamer is occasionally powerful and moving as James ranges across memorable songs including Otis Redding's Champagne & Wine.
    • 78 Metascore
    • 60 Critic Score
    Tyron
    There are striking contributions from an eclectic range of guests, including veteran British rapper Skepta, sound wizard James Blake and singer-songwriter Deb Never, and it all sounds intriguingly modern, with a pleasingly discombobulating bent. Yet, when stripped of political context, it exposes the emptiness of Slowthai’s wordplay, all sound and fury, signifying nothing much at all.
    • 78 Metascore
    • 60 Critic Score
    Paranoïa, Angels, True Love
    There are many absolutely gorgeous moments, including a reconfiguring of Pachelbel’s Canon in D Major as a ballad of gender fluid love, melancholy dance song Tears Are Soft, the lovely piano ballad Flowery Days and delicate electropop True Love (featuring 070 Shake). But the overwhelming mood is oppressive as it proceeds at a relentlessly mid tempo pace like a kind of stately march towards ecstatic sexual release.
    • 78 Metascore
    • 60 Critic Score
    Time's Arrow
    A brew of sinister synth waves nearly stagnates where we want it to cascade, and harmonies twine around one another where we want them to soar into anthems. In short, a potential blaze delivers a fizzle.
    • 78 Metascore
    • 60 Critic Score
    FFS
    As if set free from seriousness, they knock out some polished, off-kilter pop gems about inadequate individuals.
    • 78 Metascore
    • 60 Critic Score
    What's New, Tomboy?
    The full band arrangements are tastefully understated, and the 47-year-old sustains a mood of gentle sorrow and hard-earned wisdom that is easy on the ear. It is well trodden territory but Jurado is a class act.
    • 78 Metascore
    • 60 Critic Score
    The Bitter Truth
    Her crisis of faith provides a sharp edge to Evanescence’s formulaic grandstanding.
    • 78 Metascore
    • 60 Critic Score
    Gulp!
    Unfortunately, this time around, the lyrics tend to be too opaque to pack quite the same punch. ... That said, there are plenty of songs sure to please diehard Sports Team fans.
    • 78 Metascore
    • 60 Critic Score
    Holy Fvck
    Holy Fvck sounds like a genuine attempt to deal with a troubled adulthood and leave the past behind.
    • 78 Metascore
    • 60 Critic Score
    Beatopia
    Ballads like Ripples and Lovesong barely make a dent, although the bossa nova lilt of The Perfect Pair and pop beat of Tinkerbell Is Overrated fare better. Matty Healy of prominent labelmates The 1975 co-writes a couple of tracks, but his influence overwhelms the album’s delicate palette.
    • 78 Metascore
    • 60 Critic Score
    Hey Clockface
    Its 14 overloaded songs jostle awkwardly together in a cornucopia of conflicting impulses, shifting from beatboxing punk to beatnik poetry, ambient moodiness to sophisticated showtunes, peppered with snappy couplets and gilded with gorgeous melodies.
    • 78 Metascore
    • 60 Critic Score
    Camila
    Despite having been layered and processed through Autotune, her voice conveys genuine intimacy. Cabello had a hand in the writing, and a few songs convey a charming honesty and vulnerability, perhaps a relic of the album’s original themes. But there remains a gulf between the craft of commercial pop and the artistry of confessional songwriting, and there is not much doubt about which has been prioritised on Camila.
    • 77 Metascore
    • 60 Critic Score
    Daybreak
    Her soprano singing is a little derivative of Krauss's but is still sweet and clear and is surely a work in progress given her youthfulness.
    • 77 Metascore
    • 60 Critic Score
    Sinners & Saints
    Raul Malo, the Cuban-American singer, has a wonderful voice but it's unlikely that his new album Sinners & Saints will bring him a host of new converts.
    • 77 Metascore
    • 60 Critic Score
    Last of the Country Gentlemen
    To have four songs over 10 minutes on your debut is brave; when the record recalls Neil Young's sadder moments and explores the anguish of a break-up, it is foolhardy.
    • 77 Metascore
    • 60 Critic Score
    Black Rivers
    Fans will miss the mordant voice and songwriting of Doves frontman Jimi Goodwin (whose 2014 solo debut Odulek found him pondering how to recover your youth and giving up the booze: “What have I got to lose?”) But the brothers acquit themselves well here.
    • 77 Metascore
    • 60 Critic Score
    You Are All I See
    It's all precisely mixed and impressively textured, but lacks Blake's more raw, emotional connection.
    • 77 Metascore
    • 60 Critic Score
    Love, Death & Dancing
    Garratt still has a tendency to overelaboration, compressing armchair techno, James Blake-like digital manipulations and McCartney-esque flair into lush, shapeshifting tracks replete with pushy synths and layers of harmonies, where every sonic space is stuffed with activity. The effect is quite prog rock, reminiscent of such busy 1980’s synth songwriters as Nick Kershaw and Thomas Dolby.
    • 77 Metascore
    • 60 Critic Score
    Kiss Each Other Clean
    Kiss Each Other Clean recalls Scritti Politti, or Sufjan Stevens--perhaps not what his folky fans were hoping for, but it's an impressive makeover.
    • 77 Metascore
    • 60 Critic Score
    Kitty Wells Dresses: Songs of the Queen of Country Music
    It's something of a connoisseur's collection (steering clear of some of the big hits such as Release Me) but has treasures such as Making Believe.
    • 77 Metascore
    • 60 Critic Score
    Red
    It's frustrating, then, when Swift reverts back to type. Too many of the songs on this bloated 16-track album revisit the gently strummed verses and characterless choruses of her previous work.
    • 77 Metascore
    • 60 Critic Score
    Black Girl Magic
    It's sexy, restless, and perfectly suited for creatures of the night to writhe their glittery, glossed-up, bejewelled bodies to for all the ungodly hours.
    • 77 Metascore
    • 60 Critic Score
    Making a Door Less Open
    Seven-minute mantra There Must Be More Than Blood is the standout, where Toledo’s vocals are absorbed into a motorik groove, his quest for meaning somehow dissolving into an act of musical surrender. Not all the songs reach these heights, however; too many run out of ideas very quickly. But at their very best, Car Seat Headrest are reminiscent of such fantastic bands as The The, LCD Soundsystem and Talking Heads.
    • 77 Metascore
    • 60 Critic Score
    How to Let Go
    The album retains the competent aura of Sigrid’s debut, if not always its punch. Her unrelentingly talented vocal performances on tracks like piano ballad Last To Know strip her back to the artist before the fame, the artist at her piano at home in Norway. But high-octane pop remains the place where she really shines.
    • 76 Metascore
    • 60 Critic Score
    Ashore
    All in all, another real treat from the 63-year-old queen of English folk.
    • 76 Metascore
    • 60 Critic Score
    On a Mission
    Together they make efficient, likeable, club-friendly pop, with the house numbers less memorable than her drum and bass leanings.
    • 76 Metascore
    • 60 Critic Score
    The Songs of Robert Wyatt and Antony & The Johnsons: Live from The Union Chapel, London (Diversions Vol.1)
    The covers of their favourite maverick songwriters more than matches for the originals.
    • 76 Metascore
    • 60 Critic Score
    Take Me for a Walk in the Morning Dew
    A nice comeback album.
    • 76 Metascore
    • 60 Critic Score
    A Fistful of Peaches
    Like Paramore Lite, the first half of this album bubbles and fizzes in a pleasing sugar-hit without delivering true satiety. ... If only the band had dared to follow this direction more consistently and thoroughly, it could have been stellar.
    • 76 Metascore
    • 60 Critic Score
    The Good Witch
    This is smart, relatable break-up music for Gen Z listeners. But a more moot question, and one to which this reviewer suspects he knows the answer, is whether we need our own Taylor Swift when the real one seems to be doing a pretty good job as things are.
    • 76 Metascore
    • 60 Critic Score
    Girls in Peacetime Want to Dance
    Atlanta-based producer Ben H Allen (who has worked with Animal Collective and CeeLo Green) has beefed up their sound, although a taste for clean sonic lines and cheesy keyboards retains a power to grate.
    • 76 Metascore
    • 60 Critic Score
    Watkins Family Hour
    There's plenty of variety on Watkins Family Hour, with each member of the band getting a turn as lead vocalist.
    • 76 Metascore
    • 40 Critic Score
    Road
    Hardcore fans should be satisfied, but Road recycles outdated myths of rock machismo from a pantomime villain determined to go out in a blaze of clichés.
    • 76 Metascore
    • 60 Critic Score
    Fine Line
    His songs are charming but inconsequential, resolutely old-fashioned, drawing influences from offbeat singer-songwriters of a certain vintage.
    • 76 Metascore
    • 60 Critic Score
    One Deep River
    If you like Knopfler’s flavour, One Deep River will be a treat. Indeed, if you walked into a bar and caught this outfit in action, you’d surely stop and pay attention, nodding along in gentle pleasure at the veteran musicianship and easy-on-the ear ambience. Yet in the context of his own discography, it lacks the imagination, ambition and stratospheric guitar playing that made Dire Straits one of the most popular bands of all time.
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