The Quietus' Scores

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For 2,374 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: 2,109 out of 2374
  2. Mixed: 244 out of 2374
  3. Negative: 21 out of 2374
2374 music reviews
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    • 75 Metascore
    • 70 Critic Score
    Future Past
    It takes a couple of plays for the songs to individually stand out. Simon le Bon’s still remarkably youthful voice remains the most recognisable element but John Taylor’s bass and Nick Rhodes’s ear for keyboard shade come into their own, while Roger Taylor retains his steady presence on drums.
    • 75 Metascore
    • 80 Critic Score
    Idle No More
    Idle No More is evidence that this band is serious (sometimes) and it's in it for the long haul.
    • 75 Metascore
    • 80 Critic Score
    Junip
    Gonzalez's intricate, mellifluous guitar playing is not front and center, but committed followers of this side of his artistry will certainly be satisfied.
    • 75 Metascore
    • 80 Critic Score
    Hotel Valentine
    Instead of trying to recapture the magic of their formative years, Hatori and Honda have written and produced a meta-comeback record about the impulses that inspire artists to reunite.
    • 75 Metascore
    • 80 Critic Score
    Worship Music
    It may just be Anthrax's most consistent material since Among The Living in 1987.
    • 75 Metascore
    • 80 Critic Score
    It's Up to Emma
    It's Up To Emma is as blatant an intimate reckoning with betrayal, anger and pain as it gets and yet it's Scout Niblett's most sonorous, most beautiful album to date.
    • 75 Metascore
    • 90 Critic Score
    Space Zone
    Smoke has certainly raised the stakes for any aspiring Chicago producer in creating the most consolidated longform effort in the genre to date.
    • 75 Metascore
    • 60 Critic Score
    Requiem
    Ultimately, Requiem is something of a mixed bag and you can’t blame a band as idiosyncratic as Goat for trying to break out. But Goat seem to be too consciously searching around for a new route forward rather than going with their instincts.
    • 75 Metascore
    • 80 Critic Score
    Eusa
    In and of itself, EUSA is a beautiful piece of work that acts as an aural snapshot of one man’s vision of security and peace.
    • 74 Metascore
    • 50 Critic Score
    House in the Tall Grass
    Despite this crippling reliance on traditional psychedelic touchstones, there’s certainly a few thrills to be had on the album, and things do pick up somewhat toward the second half of the work.
    • 74 Metascore
    • 60 Critic Score
    Devout
    Devout is bold, fascinating and sweet, then, with moments of melodic brilliance and sonic mastery. But taken as a whole, the result is slightly unpalatable. As a good father Mr Mitch undoubtedly knows that too many sweets can upset the stomach. And the same logic applies to Devout: you need some some roughage to balance out the sugary treats.
    • 74 Metascore
    • 50 Critic Score
    King's Mouth: Music and Songs
    It is in that setting [an art gallery], unfortunately, which appears to be the most appropriate for The Flaming Lips’ latest release as neither the story or music are dynamic enough to hold the listener’s attention over an extended period.
    • 74 Metascore
    • 50 Critic Score
    Iris [Original Motion Picture Soundtrack]
    Recorded in Budapest with a 40-piece string orchestra in tow, the Iris soundtrack feels far too paint-by-numbers, gathering yearning strings to ebb and flow atop xeroxed prairies of arpeggiating synths. It’s muzak for gritty thrillers, maintaining a thin soup of emotion with enough colour to paint the background without muddying the foreground.
    • 74 Metascore
    • 80 Critic Score
    Versions
    More than a mere souvenir or stopgap, Versions is a sumptuous release that affirms both the increasingly unique and essential nature of Zola Jesus' music and the enduring genius of JG Thirlwell.
    • 74 Metascore
    • 80 Critic Score
    Patience
    None of this feels glib, not in the circumstances, and not when the music steers clear of mush to come out gorgeous, taut and streamlined.
    • 74 Metascore
    • 80 Critic Score
    Warpaint
    In Warpaint, they've mastered the mid-tempo come-on, being to indie rock what Aaliyah was to R&B.
    • 74 Metascore
    • 80 Critic Score
    The Shape of Things
    In The Shape Of Things Foxx, ably assisted by his new lieutenants and always with one eye on dreams of an imagined future, continues to make his most startlingly contemporary sounding music in years.
    • 74 Metascore
    • 80 Critic Score
    Costa Blanca
    Crucially, this is an album lacks cynicism and one that bathes in a love of its antecedents so deep that the final results are as seductive and mesmerising as their live show.
    • 74 Metascore
    • 80 Critic Score
    Samba
    On Samba he has returned to uphold the majestic grace that made his father’s music so compelling. Within the traditions of the music he is playing Touré continues to develop his own sound world.
    • 74 Metascore
    • 80 Critic Score
    I
    This album is an excellent opening entry into what will hopefully be a new series of releases from Kaukolampi, one which rewards returning visits to the places beyond the restrictions of both gravity and mundanity.
    • 74 Metascore
    • 80 Critic Score
    An Angel Fell
    Despite the heavy subject matter, the album feels optimistic and imbued with a belief in the potential for humanity’s transformation.
    • 74 Metascore
    • 80 Critic Score
    From Gas To Solid/You Are My Friend
    At times Soap&Skin recalls Fever Ray, not in sound but in essence: something dark, oblique and stinging lies at the core; both artists combine an emphatic sense of place with molten identity.
    • 74 Metascore
    • 80 Critic Score
    Ballads of Harry Houdini
    Ballads Of Harry Houdini is more like a spiritual sequel to the rockier and cross-genre Highway Songs from 2016. It feels deceptively slimmer with just six songs, rather than nine. In fact, its total running time is ten minutes longer. Maybe more focused, then?
    • 74 Metascore
    • 80 Critic Score
    Alreet?
    ‘Alreet?’ feels as raw and as singular as any record Lewis has previously made. And it might be one of his best too, which I appreciate is a bold claim.
    • 74 Metascore
    • 80 Critic Score
    Wonky
    Wonky is Orbital's most pop album; it's supremely, relentlessly, even ruthlessly melodic, and laden with irresistible momentum throughout.
    • 74 Metascore
    • 30 Critic Score
    Mature Themes
    Ultimately, this is a celebration, rather than an analysis, of several species of awfulness.
    • 74 Metascore
    • 70 Critic Score
    Post Plague
    Odonis Odonis is evolving. Though, for now, they seem to sound a bit more like yesterday than tomorrow.
    • 74 Metascore
    • 50 Critic Score
    World, You Need a Change of Mind
    While World, You Need A Change Of Heart is pleasing in places, solid it certainly ain't.
    • 74 Metascore
    • 80 Critic Score
    No Shame
    Throughout the album, Allen’s lyrics remain devastatingly frank. ... No Shame might sound more mellow than her earlier razor-sharp sass, but beneath the surface lies a gloom, one I’m glad Lily lets us see.
    • 74 Metascore
    • 70 Critic Score
    Everything Sucks
    Everything is Beautiful/Everything Sucks is a fun album that allows Frasqueri to show both sides of her personality. ... The main problem with Everything is Beautiful/Everything Sucks is that it doesn’t contain anything as devastating as ‘G.O.A.T.’, ‘Tomboy’ or ‘Kitana’. The songs never quite hit the same vein of intensity, catchiness and lyrical abstraction. There are moments when it comes close.
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