The Quietus' Scores

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For 2,393 reviews, this publication has graded:
  • 61% higher than the average critic
  • 8% same as the average critic
  • 31% lower than the average critic
On average, this publication grades 3.2 points higher than other critics. (0-100 point scale)
Average Music review score: 76
Highest review score: 100 Promises
Lowest review score: 0 Lulu
Score distribution:
  1. Positive: 2,128 out of 2393
  2. Mixed: 244 out of 2393
  3. Negative: 21 out of 2393
2393 music reviews
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    • 89 Metascore
    • 80 Critic Score
    you seem pretty sad for a girl so in love
    On this album, Rodrigo returns to the singular relationship framework of Sour, but with a more developed expressive and sonic language.
    • 83 Metascore
    • 80 Critic Score
    Paradessence
    Paradessence retains the lush intricacy but adds a sense of disorientation and rupture – the surreal eruptions and colourful misfires inevitable when it’s possible for worlds to merge.
    • 84 Metascore
    • 80 Critic Score
    But What Time Is It Really? [Live]
    This set, featuring two of the surviving members of Cabaret Voltaire, is as clear and powerful as any of the live albums the group released while Richard H. Kirk was alive.
    • 84 Metascore
    • 80 Critic Score
    Somewhere Good
    Somewhere Good ultimately succeeds in making its own temporality feel persuasive, inviting repeated returns rather than instant comprehension, and confirming Tara Clerkin Trio as one of the more quietly singular voices operating in experimental music.
    • 79 Metascore
    • 80 Critic Score
    Demand To Be Taken To Heaven Alive!
    Individual fragments lose their original function while simultaneously becoming recurring motifs. As a result, the record achieves a remarkable coherence. It is not a concept album in any conventional sense, yet it unfolds like a single narrative whose chapters continually circle back to the same question.
    • 82 Metascore
    • 70 Critic Score
    Magazine
    Without sounding like a broken record, it’s tough to sit with the overwhelming sensations of these tracks when they are gone before even arriving. The longest track of the record however, at one minute and 36 seconds, feels the perfect length to live with.
    • 82 Metascore
    • 80 Critic Score
    Almost Waking
    Ultimately, by the end of these thirty minutes, the chemistry between these two musicians feels undeniable.
    • 81 Metascore
    • 80 Critic Score
    Precreation Percolation
    These recordings offer a vivid sense of how important SFA would become to the culture they’re from.
    • 88 Metascore
    • 80 Critic Score
    Cry Baby
    Big swings, of course, can result in occasional misses. But those missteps don’t outweigh the satisfaction of seeing an artist of Staples’ reach meeting the moment head-on.
    • 86 Metascore
    • 80 Critic Score
    Spatial, No Problem.
    The opening pair of tracks are the most immediate and accessible over the course of this record. .... While the rest of the record thrives in its instrumental intricacies, these songs are far from ornate, and their instrumentation provides a perky backdrop for Scratch’s voice.
    • 83 Metascore
    • 80 Critic Score
    Lavender Networks
    While her breakthrough Eternal Home spilled out with messy and unwieldy ideas, this record has a welcome focus, at least in its overall shape. The ideas themselves are as varied as they’ve always been.
    • 76 Metascore
    • 80 Critic Score
    Blumenfantasie
    Above all else, it feels as though Xylitol is making the music that feels right to her. The feeling is contagious.
    • 84 Metascore
    • 80 Critic Score
    Inferno
    The ever-increasing sonic fidelity of the BoC sound has proven contentious, but it is precisely Inferno’s depth and hi-fi clarity that allows the album’s gods their fullest refulgence.
    • 87 Metascore
    • 90 Critic Score
    REDSTAR WU & THE WORLDWIDE SCOURGE
    Redstar Wu & The Worldwide Scourge is a magnificent achievement. By successfully joining the urgency of political protest with the aching vulnerability of the human heart, Genesis Owusu has crafted a bold state-of-the-day record.
    • 84 Metascore
    • 90 Critic Score
    Heavy Water
    Extraordinarily skilled composers and improvisers, the Stringband’s playing and choices are impeccable throughout, but it’s their deep knowledge of folk music traditions – and the way the trio both subverts and reinforces those traditions – that really gives this music its shape.
    • 79 Metascore
    • 80 Critic Score
    They Came Like Swallows
    Moore’s playing style retains the idiosyncratic features that rendered it a totemic and canonical part of experimental and alternative music. Kramer’s additions, however, reveal layers of emotion to Moore’s improvisation, which becomes a form of unconscious emotional expression.
    • 85 Metascore
    • 80 Critic Score
    Let X=X (Live)
    Her latest Let X=X, has a strong sense of narrative that elevates it beyond the standard performance documentation.
    • 84 Metascore
    • 80 Critic Score
    Sol.Hz
    Throughout the record, decrescendos and silence are used to suck you in and ease you out of the music, whilst simultaneously dousing the listener in welcome dub flavours.
    • 69 Metascore
    • 80 Critic Score
    Musick
    With Musick, Laibach makes something so numbing, so invasive, so sickly sweet that Odysseus wouldn’t need tying to the mast, so banal, so awful to contemplate (if you could be bothered to drag yourself away from your screen), that you surrender to its surface glitter and uneasy depths over and over again.
    • 78 Metascore
    • 90 Critic Score
    Detached From The Rest Of You
    In Detached From The Rest Of You, James refuses to offer the listener neat resolutions. Instead, she provides a profoundly honest documentation of her own frayed edges, translating the noise in her head into some of the most compelling electronic music of the decade.
    • 86 Metascore
    • 90 Critic Score
    MR COBRA
    One of the most transgressive, transfixing and batshit insane albums in recent memory. It’s a rare piece of new music that feels not just unique or original, but genuinely groundbreaking.
    • 80 Metascore
    • 80 Critic Score
    i sure am getting sick of this bowling alley [EP]
    Thirteen minutes of bliss (or chaos, depending on the listener), Mclusky has proven their continued dominance in the noise rock world, while giving fans something satiating to devour until the next release.
    • 82 Metascore
    • 80 Critic Score
    Confession
    Confession presents dal Forno’s music at its most lush and sensual, evoking 90s dream pop as much as 80s post-punk. It still has the chilly sensibilities of her previous work, but there’s a shimmering lightness there as well, like sunlight reflecting off the ice.
    • 81 Metascore
    • 80 Critic Score
    Requiem
    Requiem is unlikely to be an album that creates a new legion of converts, but for devotees of this true innovator it’s an incredibly rewarding one.
    • 82 Metascore
    • 80 Critic Score
    The Undone Is Done Again [EP]
    These four songs are the antithesis of the gluttony of the “gifting” economy and they’re all the better for it.
    • 80 Metascore
    • 50 Critic Score
    Nine Inch Noize
    The music is satisfying for Nine Inch Nails longtime fans who get to hear old music replayed with energy – and is even fun at times – but there’s not that much to it beyond that. .... The project feels curiously unimaginative.
    • 83 Metascore
    • 80 Critic Score
    Future Present Past
    With Future Present Past, Irreversible Entanglements have delivered an album that matches the quality and creativity of its predecessors. At the same time, they’ve refined their vision – coupling familiar sonic elements with a new-found directness.
    • 82 Metascore
    • 80 Critic Score
    Euphoria Bound
    The centre is hard to hold and purposefully so. This is an album that exists in dream states, oneiric in its exploration of textures. And as soon as there’s something approaching a collage approach, like on ‘Crushing Realities’ or opener ‘Elemental Dream’, it is swept away in favour of something more liquid.
    • 86 Metascore
    • 80 Critic Score
    My New Band Believe
    On the surface, My New Band Believe is a fully-acoustic singer-songwriter record, but whole strange worlds exist in every groove.
    • 82 Metascore
    • 80 Critic Score
    Kammerkonzert
    Kammerkonzert is cemented in the fundamentals of music creation, using orchestral music as its base camp. But of course, Jenkinson wouldn’t let you get away that easy, and as the music builds he washes his wonderful, abstract pigments all over those traditionalist forms – whilst maybe just hacking off a few musical purists along the way.
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