The Independent (UK)'s Scores
- Music
For 2,194 reviews, this publication has graded:
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47% higher than the average critic
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4% same as the average critic
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49% lower than the average critic
On average, this publication grades 3 points lower than other critics.
(0-100 point scale)
Average Music review score: 70
Highest review score: | Hit Me Hard and Soft | |
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Lowest review score: | Donda |
Score distribution:
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Positive: 1,177 out of 2194
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Mixed: 988 out of 2194
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Negative: 29 out of 2194
2194
music
reviews
- By Date
- By Critic Score
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- Critic Score
Her dance-pop here is identical to everyone else’s, which leaves Perry clutching at the single-entendre raciness of “Bon Appetit” (“Got me spread like a buffet / Bon appetit, boy”) and curdled imagery like “my love’s the bullet with your name on it” to secure a soupcon of bogus outrage.- The Independent (UK)
- Posted Jun 7, 2017
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The title track draws on gospel traditions to confront police killings--“Not everybody that’s brown can get the fuck on the ground”--while in “Overtime” and “Believe”, Booker expresses the desire for faith and direction in a rootless world.- The Independent (UK)
- Posted Jun 1, 2017
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It’s indicative of the taste for extemporisation--elsewhere reflected in the funeral lamentation “Bullets In The Street And Blood”, which yokes an explicit message to a desultory instrumental drift--which renders this album less compelling than 2012’s Landing On A Hundred.- The Independent (UK)
- Posted Jun 1, 2017
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Relaxer is effectively Alt-J’s folk album: still studious and tending towards complexity, but here tempered by a rootedness that snags emotions more directly.- The Independent (UK)
- Posted Jun 1, 2017
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He just sounds like a grumpy geriatric for whom age has brought little of the reflective wisdom of Leonard Cohen.- The Independent (UK)
- Posted Jun 1, 2017
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“Shine On Me” sounds like a George Harrison out-take, while the kitschy-corny “Livin’ In Sin” (“Your touch is electrical/I’m so susceptible”) recalls The Beach Boys circa 15 Big Ones. But there are threads of sly invention woven throughout, most notably the unusual alliance of dobro slide and Bacharach horns that lifts “Wildest Dreams”.- The Independent (UK)
- Posted Jun 1, 2017
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It’s a remarkable departure for Amidon, who also eschews his usual traditional repertoire in favour of original material, albeit haunted by similar hints of fate, animism and violence; though the overriding impression is best summed up in a phrase about “haphazard words found in drifting conversation”.- The Independent (UK)
- Posted May 24, 2017
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With Different Days, though, they seem to have settled into a sort of not-quite-mainstream indie-rock tinted with neo-psychedelic touches.- The Independent (UK)
- Posted May 24, 2017
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At their best, on the barroom piano rocker “Dirty Water”, there’s a brazen, Stones-y charm to the tart, offbeat guitar twitch and raunchy slide guitar; while societal decline is dealt a simple slap in the punchy rocker “Death & Destruction”.- The Independent (UK)
- Posted May 19, 2017
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It’s an odd album, split between full-on dancefloor stompers like the euphoric summer romance anthem “Love You To The Sky” and less successful stabs at political commentary such as “Lousy Sum Of Nothing”, an overly simplistic bout of finger-wagging about how “the world has lost its loving” in respect of the refugee crisis.- The Independent (UK)
- Posted May 17, 2017
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Styles has opened himself up, as best he can, to his audience, and by gathering a solid team around him to help achieve that he’s created an immersive, well-produced collection of songs that isn’t trying to prove anything in particular to anyone.- The Independent (UK)
- Posted May 11, 2017
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The results are looser and less formal than might be expected, more imbued with soulful swing, slipping back and forth between the modes and incorporating ecstatic gospel-style call and response passages against a patinated backdrop of shakers, percussion, swooping synths and droning organ.- The Independent (UK)
- Posted May 10, 2017
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- The Independent (UK)
- Posted May 10, 2017
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After the refreshing change furnished by 2014’s The London Sessions, things are pretty much back to normal for Mary J Blige on Strength Of A Woman, which finds the Queen Of R&B Reproach once again embattled by amorous treachery.- The Independent (UK)
- Posted May 4, 2017
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They just sound like desperate grasps for something--anything--before the latter stages of the album slump into terminal dullness.- The Independent (UK)
- Posted May 4, 2017
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Unfortunately, there’s not much pleasure here for the listener, manoeuvred into the position of reluctant psychoanalyst.- The Independent (UK)
- Posted Apr 26, 2017
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He remains a more psychedelic soul, as witness psych-rockers like “Mad Shelley’s Letterbox” and “Detective Mindhorn”. With a sort of repressed power anchoring its drive.- The Independent (UK)
- Posted Apr 19, 2017
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This album, drawing together their three recent EPs, also displays the diversity of Best’s lyrical interests, ranging from brain chemistry (“Serotonin Rushes”) to psychoanalysis (“Freudian Slips”) and, in “Impossible Objects Of Desire”, the enigmatic allure of records which defined so many lives.- The Independent (UK)
- Posted Apr 19, 2017
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Here, his pool of talent is confirmed in the spare xylophone beat to “Youth” and the ingenious, slinky grooves to “Lightwork” and “They Don’t Know”, a frisky pass-the-mic showcase between Tinie, Kid Ink, Stefflon Don and AoD. But given the sharp drop-off in notable guest talent this time round, compared with Demonstration, he certainly needs to make changes.- The Independent (UK)
- Posted Apr 17, 2017
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The sound here is occasionally brasher--most notably on the gentle opener “Everyone’s Looking For Home”, suddenly overwhelmed by a startling, brash mariachi climax--but generally sticks fairly close to the Laurel Canyon soundalike stylings of Outlaw’s “SoCal” sound.- The Independent (UK)
- Posted Apr 13, 2017
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In places, Vanderslice’s more abstruse, jazzier ideas grate with the material--notably the clarinet discords closing the old departing-soldier-boy tale “When The Roses Bloom Again”--but he’s usually on the money with things like the elegiac strings accompanying “Betty’s Eulogy” and the lachrymose pedal steel, vibes and shaker underscoring “Wreck”, a heartfelt plea for a lover who’s “a worker, not a volunteer”.- The Independent (UK)
- Posted Apr 12, 2017
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Their minimalist aesthetic can sometimes work against them, as on the spartan, diffident “The Pop Life”, but it’s tempered by a winning romanticism on “Butterflies”, where the fluttering keyboards evoke a fantasy of a dead soul becoming a butterfly, one of “a thousand souls swarming”.- The Independent (UK)
- Posted Apr 12, 2017
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Ironically, though, it’s the more old-school tracks that furnish the highlights.- The Independent (UK)
- Posted Apr 5, 2017
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“Build Music” is a fast, scuttling riff of loping bass and stabbing organ, its call-and-response lyric celebrating the act of making music; while on “Santa Monica”, an itchy but fluid guitar motif is threaded into the groove, as Nabay protests LAPD harassment--“Investigation, interrogation, yea!”--like Fela Kuti recounting oppression in a less balmy clime. But crucially, the backing vocals still sparkle lightly despite the heavy hand of the law.- The Independent (UK)
- Posted Mar 31, 2017
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A concept album about early American rail disasters, The Ghost Of Hope sounds more naturalistic than many Residents albums, with plenty of chugging engine noises, and strings summoning conventional tragedy, as grisly crashes are recounted in typically sinister Residential tones. But it’s punctuated by startling musical moments.- The Independent (UK)
- Posted Mar 22, 2017
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There’s not quite as intense a contrast between the sweetness of the melodies and the antagonistic howls of guitar feedback on this first album in 18 years, which allows the swaggering pop charm of tracks like “Songs For A Secret” and “All Things Pass” to work their magic in less edgy manner.- The Independent (UK)
- Posted Mar 22, 2017
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It’s all a bit depressing, and not helped by the plodding music, which sags back into plonking piano quadruplets and dissatisfying, baggy sax, leavened by the occasional squall of guitar.- The Independent (UK)
- Posted Mar 22, 2017
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On Spirit, Depeche Mode get serious and political, which doesn’t really suit them.- The Independent (UK)
- Posted Mar 22, 2017
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One can’t help thinking the ghosts and echoes of previous scandalous indulgences are rather betrayed by the project’s neat, sentimental manner.- The Independent (UK)
- Posted Mar 15, 2017
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- The Independent (UK)
- Posted Mar 15, 2017
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The found-sounds quickly become irritating--as too, unfortunately, does Wastberg’s wan falsetto, which imposes a mood of victimhood where uplift might be more appropriate. It’s rather sad, because there’s genuine invention in some of his J Dilla-style arrangement assemblages.- The Independent (UK)
- Posted Mar 8, 2017
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Save for a couple of uptempo trotters like the jaunty kiss-off “It’s Goodbye And So Long To You”, it’s mostly melancholy fare.- The Independent (UK)
- Posted Mar 1, 2017
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Unsurprisingly, it’s not a pretty sound, though there are moments of transcendent grace.- The Independent (UK)
- Posted Mar 1, 2017
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It’s an enjoyable, occasionally virtuosic romp, fronted by Thundercat’s smooth soul harmonies, which lend proceedings the lustrous sheen of Earth, Wind & Fire.- The Independent (UK)
- Posted Feb 23, 2017
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The usual bouts of brusque dissing rub shoulders with love songs, fond tributes to his mom, and a fulsome, swaying devotional hymn “Blinded By Your Grace Pt. 2”. But it’s the engaging sense of vulnerability and self-deprecation that brings depth and charm to Gang Signs & Prayer.- The Independent (UK)
- Posted Feb 23, 2017
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It’s an odd alliance of elements that seem at odds, but work beautifully together.- The Independent (UK)
- Posted Feb 22, 2017
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On Freedom Highway, Rhiannon Giddens animates black American history--notably, the arduous journey from slavery to civil rights--in songs which pair her strong, sonorous delivery with arrangements echoing pre-blues minstrel music.- The Independent (UK)
- Posted Feb 22, 2017
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David Longstreth’s account of his separation from former bandmate Amber Coffman told through a welter of autotuned, over-treated vocals and jumble of clashing sounds that, to be generous, may be intended as an analogue of the ground shifting beneath their disintegrating relationship.- The Independent (UK)
- Posted Feb 22, 2017
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It’s a solipsistic affair: and while his good intentions to smarten up his drug-sozzled, road-weary life may be commendable, they don’t necessarily make “Quit It” any more agreeable.- The Independent (UK)
- Posted Feb 15, 2017
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Prisoner sticks to the well-trodden highways, whether it’s the echoes of U2 in the grand guitar stabs and earnest vocal tone of opener “Do You Still Love Me”, or the spangly, flanged guitars and relaxed sense of space that lend “Anything I Say To You Now” the laidback stadium sound of The Police.- The Independent (UK)
- Posted Feb 15, 2017
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This recently discovered live recording from 1968 captures [Dennis Coffey] at an earlier stage, just before his reputation soared through contributions to classics like “Cloud 9”, “War” and "Band Of Gold”.- The Independent (UK)
- Posted Feb 14, 2017
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It’s not always pretty--his blast of antipathy “Can’t Stand You” is just relentless disparagement, with none of the subtlety of “Positively 4th Street”; ultimately, it’s small wonder to find him, in “Poor Traits Of The Artist”, caught between loving and hating his need to create.- The Independent (UK)
- Posted Feb 13, 2017
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Compared with his perky previous albums Mars and Mean Love, there’s something underwhelming about this third effort from Ahmad Gallab, aka Sinkane--it feels every bit as pedestrian and dutiful as its title suggests, its slow, methodical grooves pleasantly light but laborious.- The Independent (UK)
- Posted Feb 9, 2017
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“Rituals” is Lipstate’s tribute to Steve Reich’s Music For 18 Musicians, its arpeggiating guitar lines intertwining hypnotically, while the opening “Deep Shelter” takes a different approach, its lowing drones sliding over each other in Terry Riley-esque manner, seeking rhythmic pulses behind sheets of high, keening tones.- The Independent (UK)
- Posted Feb 8, 2017
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Things go rapidly downhill, soured by the earnest, self-important tone of songs like “Grace” and “Ego”; while “Love You Any Less” is just achingly dull, a slice of blandly sepia soulfulness that stains the songs around it.- The Independent (UK)
- Posted Feb 8, 2017
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Butler performs miracles as producer, sprinkling flute like pollen over “An Angel’s Wing Brushed The Penny Slots”, and haunting “Nothing And Everything” with spectral backing vocals. Eitzel’s glass-half-empty attitude, however, grips the songs too tightly.- The Independent (UK)
- Posted Jan 25, 2017
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[A] more thoughtful, diverse creations in which floating organ and mellotron lend a wavering melancholy to songs like “Maybe We’ll Drown” and “Lemon Memory”, pierced by contrasting guitar rages of keening angularity.- The Independent (UK)
- Posted Jan 18, 2017
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The duet between Miss Kittin’s android vocal and a machine voice on the engagingly dystopian “Hans Is Driving” seems devoid of contact, a sad lament from a world bereft of humans. But it’s Arbez-Nicolas’s magpie ways that leaves a bad taste.- The Independent (UK)
- Posted Jan 18, 2017
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The creepier explorations of infantile eroticism--the lollipop metaphor of “All Day Suckers”, the fairytale allusion of “Baby Teeth, Wolfy Teeth”--are voiced by Harvey himself, allowing guest singers like Jess Ribeiro and Sophia Brous to indulge the sweeter romanticism of songs such as “The Eyes To Cry” and “Prevert’s Song”, where Gainsbourg’s musing on the poet’s work prompts a moving reflection on transitory love.- The Independent (UK)
- Posted Jan 18, 2017
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Sometimes, sheer ambition can render music too top-heavy to succeed. Hang, by Los Angeles duo Foxygen, is a case in point.- The Independent (UK)
- Posted Jan 18, 2017
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His light, understated tenor blends well with her piquant tone on the blithe, buttoned-down yacht-rock grooves he creates for Little Wings’ “Look At What The Light Did Now” and Frank Ocean’s “Thinking Bout You”; but an affectless version of Barry Gibb’s “Grease” is less successful.- The Independent (UK)
- Posted Jan 11, 2017
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- The Independent (UK)
- Posted Jan 11, 2017
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Cliched rock band they might be, but the problem lies more with the fact that they used to be bloody good at it. Night People is a painfully disjointed album that shows a band at an impasse, unsure about which direction they want to go in.- The Independent (UK)
- Posted Jan 6, 2017
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A decent collection which explores different aspects of the duo’s chosen musical territory.- The Independent (UK)
- Posted Dec 21, 2016
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As it is, these seven surviving tracks capture a group in transition from R&B covers outfit to something more significant.- The Independent (UK)
- Posted Dec 20, 2016
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It’s a delight, full of rich textures and subtle touches, from the harpsichord, hi-hats and horns of “Apollo’s Mood” to the sumptuous opener “Sirens Of Jupiter.”- The Independent (UK)
- Posted Dec 14, 2016
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Jermaine Cole’s fourth album is highly principled and skilfully wrought, but those aren’t always the most prized or effective elements when it comes to hip-hop.- The Independent (UK)
- Posted Dec 14, 2016
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Restless Spheres is the first release in nine years from Blue States, the nom-de-disque of chill-out stylist Andy Dragazis; and sadly, it sounds somewhat mired in the modes of an emptier era.- The Independent (UK)
- Posted Dec 7, 2016
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The contrasts of the title are evident throughout John Legend’s latest album--in the push and pull between devotion and desire, indulgence and empowerment, and musically in the dialectic between comforting familiarity and exploratory urges.- The Independent (UK)
- Posted Dec 7, 2016
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With Peace Trail, Neil Young slips into self-parody again, with a set of desultory peacenik songs too simplistic and patronising to be taken seriously.- The Independent (UK)
- Posted Dec 7, 2016
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Musically, it’s an odd mix of ambition and disorder, with Doherty’s familiar raggedy-ass rock tempered with poignant moments.- The Independent (UK)
- Posted Nov 30, 2016
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His guests include Lana Del Rey, whose affectless manner makes her a perfect match for him; though the best grooves here come courtesy of Daft Punk, bookending the album with the scudding title-track and Michael Jackson homage “I Feel It Coming”.- The Independent (UK)
- Posted Nov 30, 2016
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Garth here sensibly celebrates simple good times in songs like the twangsome “Honky Tonk Somewhere” and its cutting-loose continuation “Weekend”, where copious location namechecks enthuse that “it’s weekend all over the world”. Elsewhere, “Baby, Let’s Lay Down And Dance” tacks its cheeky proposition onto a “Long Train Running” groove, while the chugging boogie of “Pure Adrenaline” suggests how ZZ Top might sound if they were country.- The Independent (UK)
- Posted Nov 23, 2016
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Too often, the songs are shadowed by earlier interpreters.- The Independent (UK)
- Posted Nov 23, 2016
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There’s scant distinction overall, with Bruno’s eager-beaver personality wearing perilously thin on “That’s What I Like”, a tiresome tick-list of unimaginative hedonism, and “Chunky”, a big-lass anthem lacking even the roguish, cheeky [sic] charm of Sir Mixalot’s “Baby Got Back”.- The Independent (UK)
- Posted Nov 23, 2016
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Equally interesting are undeveloped outtakes such as the exquisite heartbreak miniature “Marigold”, and two songs deliberately written to meet Elektra’s demand for a hit single, “Once Upon A Time” and “Lady, Give Me Your Key”, on which Buckley’s genial charm and outlandish vocal gymnastics--not to mention the latter track’s clumsy drug-pun metaphor--trump any unfeasible commercial considerations.- The Independent (UK)
- Posted Nov 16, 2016
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There’s something grippingly wide-eyed and manic about her performances here and on the mounting hysteria of Beth Orton’s “Alexandria”, while more reserved shades of mental imbalance are evoked in “Window”, where the petrifying effect of obsession is considered over a stealthy, furtive arrangement.- The Independent (UK)
- Posted Nov 10, 2016
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The combination of indistinct vocals and the band’s preference for meandering charm over more decisive structures tends to sap the music of potency.- The Independent (UK)
- Posted Nov 9, 2016
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Though not entirely “unplugged”--there’s a wealth of keyboard drones and subtle electronic detail lurking behind the foreground mandolins and acoustic guitars--applying this stripped-down format to some of their most memorable moments does help dilute the excessive stadium bombast which became a cornerstone of Simple Minds’ style.- The Independent (UK)
- Posted Nov 9, 2016
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“Heading South On The Great North Road”, sounds like an outtake from Sting’s musical The Last Ship. But otherwise it’s fairly standard AOR fare, only baring its teeth on the snarling “Petrol Head”- The Independent (UK)
- Posted Nov 9, 2016
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Listening to The Heavy Entertainment Show is a bit like watching EastEnders--a constant barrage of snarling, strutting chippiness passed off as authentic British geezerism.- The Independent (UK)
- Posted Nov 3, 2016
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It doesn’t take many tracks to blunt the impact of Moby’s relentless goosestepping drum programmes and shouty slogans.- The Independent (UK)
- Posted Nov 2, 2016
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The comforting simplicities peddled in tracks like “Reunion” and “Knockout” offer the rock equivalent of Donald Trump, currying favour without getting too specific.- The Independent (UK)
- Posted Nov 2, 2016
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It’s the quiet weariness of “Shipwreck Love” that’s most effective, its minimal alliance of guitar and violin gently emphasising Steve’s promise to offer a safe harbour from the “hidden shoals, breaker of souls”.- The Independent (UK)
- Posted Oct 28, 2016
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Can’t Touch Us Now doesn’t have quite the exploratory breadth of Oui Oui Si Si Ja Ja Da Da, but there’s enough variety to animate their tableaux of social portraits.- The Independent (UK)
- Posted Oct 27, 2016
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At their most normal, “In Love” resembles Prince at his oddest; while the most likeable of a range of silly lyrics offers the promise, “I like to watch you run, but I’ll never touch your bum”.- The Independent (UK)
- Posted Oct 26, 2016
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Two Vines glows with a relaxed, beachside warmth that brings to mind “Standing On The Shore” from their debut.- The Independent (UK)
- Posted Oct 26, 2016
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The Courteeners are still pretty much mired in Mancunian mores on this latest album.- The Independent (UK)
- Posted Oct 26, 2016
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The album arguably gets worse as he gets better, particularly in “Quicksand”, with its Coldplay-esque promise to “patch you up, we’ll work it out”.- The Independent (UK)
- Posted Oct 19, 2016
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The songs on her third album are more concealed in their arrangements than before, despite a sonic palette still based in the slim, austere piano and cello settings for which she’s known.- The Independent (UK)
- Posted Oct 19, 2016
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To a certain extent it works, especially when Josh Homme’s on hand to lend gritty riffing and imaginative lead lines to some tracks: his spiky but fluid breaks on “A-Yo” and “John Wayne” are undoubted album highlights. Sadly, the bombastic orchestral stomper “Perfect Illusion”, a much-anticipated collaboration with Tame Impala’s Kevin Parker, is less impressive, just stridently dull.- The Independent (UK)
- Posted Oct 19, 2016
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Lyrics have never been the band’s strongest suit, and WALLS is no exception, with the blandest of emotional expressions occasionally punctuated by simple stupidity.- The Independent (UK)
- Posted Oct 12, 2016
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Save for the chunky “Don’t You Wait”, there’s little punch or pop charm to the album, which boasts a surfeit of luscious textures and feisty attitudes, but a shortfall of killer melodies.- The Independent (UK)
- Posted Oct 12, 2016
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Always an unflinchingly open songwriter, Conor Oberst leaves himself even more exposed on Ruminations, where his songs are accompanied just by his own piano, guitar and harmonica.- The Independent (UK)
- Posted Oct 12, 2016
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The songs are littered with piquant period references--Eric Bristow, Bruce Lee, Roman Polanski, spaghetti hoops--often in absurd situations, such as the mash-up of teutonic terrorism and mad-scientist sci-fi that is “Ulrike Meinhof’s Brain Is Missing”. But Haines’s genuine affection shines through fond tributes like the chugging glam boogie “Marc Bolan Blues” and acid-folk exploration “The Incredible String Band.”- The Independent (UK)
- Posted Oct 5, 2016
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There’s a frustrating disjunction between intention and execution on Green Day’s Revolution Radio.- The Independent (UK)
- Posted Oct 5, 2016
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The widescreen south-western ambience is stippled with intriguing touches, like the shruti box and bowed guitar droning through “Gallop On The Run”, and the rhythmic rattling chains of the death ballad “Lay My Lily Down”; though the most moving performance is Weir’s plaintive solo piece “Ki-Yi Bossie”, oozing empathy for a reluctant penitent alcoholic.- The Independent (UK)
- Posted Oct 5, 2016
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There’s something of the warmth and fulfilment of Tupelo Honey about the album generally.- The Independent (UK)
- Posted Sep 28, 2016
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On Remember Us To Life, Regina Spektor exhibits stronger affinities with Randy Newman, thanks to a turn of phrase often leaning towards the ironic, and a deceptive worldview which, like the sardonic string arrangements and ominous piano settings, gives most of these songs a slightly sour sting in the tail.- The Independent (UK)
- Posted Sep 28, 2016
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Head Carrier is an altogether more convincing affair than 2014’s comeback album Indie Cindy, the intervening months of roadwork having helped relocate the band’s classic mode.- The Independent (UK)
- Posted Sep 28, 2016
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This fourth album is produced by south London’s Paul White, and a shared taste for Talking Heads and especially Joy Division (the LP is named after their song, more than JG Ballard’s novel) takes it way off the mainstream hip-hop map.- The Independent (UK)
- Posted Sep 27, 2016
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The Experiment’s increasingly obvious fault, though, is how close they keep to the middle of their many musical roads.- The Independent (UK)
- Posted Sep 22, 2016
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Bubbling synths and glistening ripples of acoustic guitar adorn these tales of elite bohemians.- The Independent (UK)
- Posted Sep 22, 2016
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Songwriting points remain shrouded, and voices drowsy, but an understated fearlessness pears through the mist.- The Independent (UK)
- Posted Sep 22, 2016
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The most revelatory song of the now mature songwriter is, though, “My Father’s House”, from Nebraska (1982). There’s a sluggish, nightmare feel as Springsteen dreams of a bramble-tangled house in a haunted field, a home where he’s no longer known; a past he can’t return to. The merits of this rough, questionable compilation lie in such small revelations.- The Independent (UK)
- Posted Sep 22, 2016
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Steinman’s sonic fingerprints are all over the album--the furiously arpeggiating piano riffs (one “borrowed” from Randy Newman), the brusque guitars, the Wagnerian pomp--though it is Loaf’s stagey delivery, with that juddering vibrato, which dominates songs.- The Independent (UK)
- Posted Sep 8, 2016
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- The Independent (UK)
- Posted Sep 8, 2016
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Some of the backing tracks have novelty appeal--the cartoonish, kazoo-like loop of “Bird Song”, the Qawwali elisions percolating through the Zayn Malik duet “Freedun”--but the most striking work here is her virtually acappella treatment of “Jump In”, with just a sparse beat beneath her rhythmic vocal repetitions.- The Independent (UK)
- Posted Sep 8, 2016
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Six years on from the vivacious Bang Goes The Knighthood, Neil Hannon’s latest Divine Comedy outing seems to lack the bite which gives the best of his work its raffish frisson.- The Independent (UK)
- Posted Sep 1, 2016
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- Critic Score
One step forward, two steps backward: having produced perhaps his best album with 2014’s Carry On The Grudge, Jamie T is at best stationary, and often retrograde, on Trick.- The Independent (UK)
- Posted Sep 1, 2016
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