The Independent (UK)'s Scores

  • Music
For 1,687 reviews, this publication has graded:
  • 44% higher than the average critic
  • 3% same as the average critic
  • 53% lower than the average critic
On average, this publication grades 4.5 points lower than other critics. (0-100 point scale)
Average Music review score: 68
Highest review score: 100 Automatic for the People [25th Anniversary Deluxe Edition]
Lowest review score: 20 The Endless River
Score distribution:
1687 music reviews
    • tbd Metascore
    • 100 Critic Score
    The production here is superb. Tyler has never been one for traditional song structure, but on IGOR he’s like the Minotaur luring you through a maze that twists and turns around seemingly impossible corners, drawing you into the thrilling unknown. ... This is Tyler’s best work to date.
    • 80 Metascore
    • 80 Critic Score
    An album of polished pop. Perhaps this will put her at the top where she belongs.
    • 81 Metascore
    • 60 Critic Score
    I Am Easy to Find feels like an old friend you’re pleased to keep around--even if, had you been introduced today, you wonder if you’d have been compelled to make the effort.
    • 69 Metascore
    • 40 Critic Score
    Always exquisitely unbothered, the indie-rock poster boy now sounds like he can’t be bothered.
    • 76 Metascore
    • 60 Critic Score
    We have to wait for the final, title track for the end of suffering. That Carter’s young daughter Mercy is on the recording ramps up the emotion and hopeful vibe of this acoustic ballad. It’s a much-needed resolution to an album of full-throttle catharsis.
    • 88 Metascore
    • 80 Critic Score
    This deathly intrigue is drawn from Lenker’s own personal traumas, which she successfully spins into something that feels universal. But you don’t come away from this record feeling downcast. It’s more a reminder of how fleeting yet beautiful life is, and an appeal to make the most of it.
    • 82 Metascore
    • 80 Critic Score
    An unfashionable record, then, and that may be its best asset. With such low stakes and barely any emotional intensity, Father of the Bride won’t cement Vampire Weekend’s legacy. But after a highly strung decade on the indie-rock A-list, it gives them room to breathe.
    • 62 Metascore
    • 60 Critic Score
    Love is a pleasant although occasionally overly earnest capsule collection of pop sounds where Diamantis proves herself to be the master of the “brief pause... and gentle drop” technique. ... Her voice skitters across songs with a frostiness reminiscent of Madonna’s Ray of Light era, and sometimes it feels like a lecture being delivered into the mirror: everyone’s just like you, no one’s happy, enjoy your life.
    • 65 Metascore
    • 60 Critic Score
    “Paradise Is Under Your Nose” is the stand-out, a stirring folk lament kept on track thanks to the vocal duet with co-writer Jack Jones of Trampolene doing the heavy melodic lifting and some keening fiddle from Miki Beavis, but there’s only so much the Puta Madres can do. As with most Doherty releases, it’s back-loaded with meandering, semi-bothered filler.
    • 53 Metascore
    • 40 Critic Score
    It’s stuffed with generic accounts of relationships, life on the road, times with the band.
    • 79 Metascore
    • 80 Critic Score
    The pace drifts towards the second half, where the five-minute-long “Missed Calls” drags. But there’s no doubt this stop on Soak’s journey is one worth spending time at.
    • 77 Metascore
    • 80 Critic Score
    It sounds like The Cranberries found some kind of closure in this last record. Hopefully fans will, too.
    • 88 Metascore
    • 100 Critic Score
    At an age where the pressure is on to have everything worked out, Harding sounds delightfully free.
    • 70 Metascore
    • 80 Critic Score
    The album has an unpolished feel – a diamond in the rough – with its analogue sounds and snatches of conversation from the recording studio.
    • 75 Metascore
    • 80 Critic Score
    The band’s best work to date.
    • 80 Metascore
    • 80 Critic Score
    Wonderfully unsettling.
    • 81 Metascore
    • 80 Critic Score
    This is a polished, playful album, though it has a DIY edge to it.
    • 74 Metascore
    • 60 Critic Score
    They’ve formed their own blueprint in which the messages they purvey and the grandiose shows they stage are our main point of interest, but the music, production-wise, falls a little by the wayside when it comes to breaking new ground.
    • 79 Metascore
    • 80 Critic Score
    Their mega beats endure on No Geography, but this is also a stupendously successful splicing of past and present.
    • 82 Metascore
    • 80 Critic Score
    [Ventura] streamlines .Paak’s sound, making for a tightly packaged, melodic and danceable album.
    • 59 Metascore
    • 80 Critic Score
    For the most part, Circa Waves prefer to channel youthful disillusionment with an aggressive guitar line (bound to open up one or two moshpits) than any grand lyrical statement. They’re not trying to set the world to rights so much as offer fans an outlet for escapism. It’s refreshing.
    • 58 Metascore
    • 60 Critic Score
    A very credible record with no real mistakes--but no real personality, either.
    • 91 Metascore
    • 100 Critic Score
    Titanic Rising isn’t Bob Seger meets Enya. It’s better.
    • 81 Metascore
    • 40 Critic Score
    For the most part, When We All Fall Asleep is stiflingly dull and bloated, with subpar production from Eilish and her brother, Finneas O’Connell (known for his time on Glee).
    • 80 Metascore
    • 80 Critic Score
    Deforming Lobes is unpredictable and invigorating--the best representation of Segall’s restless creativity to date, not to mention the most fun to listen to.
    • 76 Metascore
    • 60 Critic Score
    Everything is more direct: the vocals are bolder and higher in the mix, the instrumentation sharper, the lyrics more personal.
    • 74 Metascore
    • 80 Critic Score
    It is further evidence of his mellifluous voice, somehow both relaxed and urgent; of his muscular grasp of his genre; and of his willingness to push its boundaries.
    • 76 Metascore
    • 80 Critic Score
    For someone who claims she has no words left, she manages to say rather a lot.
    • 85 Metascore
    • 80 Critic Score
    There’s been a lot of hype surrounding her since she made it on to BBC’s Sound of 2018 list. Miss Universe justifies it.
    • 84 Metascore
    • 80 Critic Score
    Here, Lewis does what she does best: adds the glossy sparkle of Hollywood and a sunny Californian sheen to melancholy and nostalgia, with her most luxuriantly orchestrated album yet.