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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    • 67 Metascore
    • 60 Critic Score
    High Hopes
    Perhaps its on-the-hoof, anomalous nature is the source of a sense that High Hopes, though good, doesn't feel either like a set of surprising others sides or quite as cohesive or great as the title of 'new Springsteen album' (as opposed to say 'iTunes bonus tracks', or 'B-side collection', which might have been more fitting categories) might demand.
    • 67 Metascore
    • 70 Critic Score
    Pure & Simple
    The instrumentation, forms, and concepts are familiar: “pure” country, as it were. Lyrically speaking, love, companionship, and family (‘Mama’) represent persistent threads; even more so, though, the passing of time seems to be Parton’s chief concern.
    • 67 Metascore
    • 100 Critic Score
    Nzca/Lines
    A debut so exquisitely tooled I cannot find a thing wrong with it.
    • 67 Metascore
    • 80 Critic Score
    Back into the Woods
    So what you have is an album that's very recognisably Ed; the Steve Gullick photography, the tipsy melancholy and romance, the ballads... but without the need for too many frills it sounds complete, nine gorgeous songs that sit beautifully together.
    • 67 Metascore
    • 80 Critic Score
    Welcome to Mikrosector-50
    So in short Welcome to Mikrosector 50 is rather excellent, with the only real dud on the album being the slightly tedious 70s porno-funk of 'Quadraskank Interlude'.
    • 67 Metascore
    • 80 Critic Score
    This Is What I Do
    This Is What I Do leaves you spoiled for choice. Ruined, in fact.
    • 67 Metascore
    • 70 Critic Score
    Live Rain
    Rather than concentrating on a single, memorable event, it takes the best bits to offer an idealised representation of the Howlin Rain live experience that's very much the aural equivalent of a Cameron Crowe movie.
    • 67 Metascore
    • 80 Critic Score
    The Capsule
    This brand of brooding synth instrumental has been so long entangled with narratives, it’s perhaps the ultimate test to make it work without without any framing context; to inject enough substance into the music for it to carry itself. Jean-Michel Jarre managed it, Tangerine Dream (sometimes) managed it, and with The Capsule so have Necro Deathmort.
    • 67 Metascore
    • 80 Critic Score
    Home Time
    Home Time is an album by a songwriter whose distinctive style has more than a little of the music hall. Hayman is a modern storyteller whose curiosity means he just cannot stop uncovering material.
    • 67 Metascore
    • 80 Critic Score
    Goddess
    Goddess doesn’t stick to one style, and though there are echoes of Gibbons, Del Rey and Sade, the album’s coherence comes from its themes and overall mood and not by remaining within a single niche.
    • 67 Metascore
    • 80 Critic Score
    Artificial Sweeteners
    With their fifth album, Artificial Sweeteners, Fujiya & Miyagi once again mine opposite ends of the lyrical spectrum whilst delivering their most musically satisfying collection to date.
    • 67 Metascore
    • 80 Critic Score
    Scorpion
    This is a revealing, thrilling album by an artist who took a very particular experience and used it to create a beautiful project.
    • 67 Metascore
    • 60 Critic Score
    Hexadic
    Ultimately, Hexadic is more compelling as a concept than a piece of music, and few folks are likely to follow Chasny deep into the record's blistering hot core more than a couple times.
    • 67 Metascore
    • 80 Critic Score
    Lifetime of Love
    Lifetime of Love is a strange album, where songs with differing emotional foundations, sonic palettes, aural pace and textural aesthetics mesh into a cohesive whole. As Moon Diagrams, Archuleta has created a world where introspection, catharsis and redemption can envelop you and become something porous, to be inhaled and lived in.
    • 67 Metascore
    • 70 Critic Score
    Hot Cakes
    Hot Cakes [is] proof if it were needed that there's plenty of life in the old dog yet - and that dog still don't give a f***.
    • 67 Metascore
    • 70 Critic Score
    TKOL RMX 1234567
    It's to the remixers' own credit--and perhaps, also, to the homogenous nature of the source material--that TKOL RMX 1234567 does a fine job of highlighting each producer's own idiosyncracies.
    • 66 Metascore
    • 70 Critic Score
    Breakthrough
    Breakthrough is an eclectic and challenging record that features more than a few sublime moments of heady bong-haze depth.
    • 66 Metascore
    • 80 Critic Score
    A Lantern And A Bell
    In places, when compared to their earlier works, it sometimes feels like songs don’t get the space to grow and unfold. Other than that, this is a sublime and beguiling record, and a milestone in the evolution of a unique creative voice.
    • 66 Metascore
    • 70 Critic Score
    Ready to Die
    It ain't no Raw Power. But once you get your head around the fact that it rightfully doesn't even attempt to imitate its antecedent, and really is more a belated sequel to Pop and Williamson's 1977 album Kill City, then this is, in places, a pretty damn good rock & roll record.
    • 66 Metascore
    • 80 Critic Score
    I Thought It Was Us But It Was All of Us
    Listeners willing to put in the hours to engage with Saltland on their level will find reams to love about their debut , a record so carefully considered that making a song and dance about it all feels a little garish.
    • 66 Metascore
    • 70 Critic Score
    Leave No Trace
    Leave No Trace favours synths over horns – in fact, it's not until about ten minutes in that we get our first taste of brass - and whilst the sound is still impressively full-bodied, without the continuous stream of interwoven saxophone and trumpet solos that made its predecessor such a joyous affair it feels pretty empty in comparison.
    • 66 Metascore
    • 80 Critic Score
    Callus
    It’s an album that needs the thick-skin its title connotes to listen--you won’t emerge from it feeling joyous, but you will emerge seeing a truth that will deeply unsettle.
    • 66 Metascore
    • 70 Critic Score
    This is PiL
    Lydon's ever-inspiring love of de-dub postulates continually throughout the album – it's such a perfect return.
    • 66 Metascore
    • 10 Critic Score
    The Only Place
    Another eleven baseless mehs that belong nowhere else than on a blog that no one reads.
    • 66 Metascore
    • 70 Critic Score
    I Want You To Destroy Me
    It's quite brilliant and perfectly flawed: the sort of album you don't mind getting run over whilst listening to.
    • 66 Metascore
    • 70 Critic Score
    Wash the Sins Not Only the Face
    Ultimately it's the breaking of a cycle that leads to change and, on this record of both progression and recollection, Esben And The Witch suggest that they haven't yet quite achieved that.
    • 66 Metascore
    • 70 Critic Score
    Personal Computer
    With only ten tracks, half of which are under three minutes long, Personal Computer feels just a few bits short of a byte and you may well find yourself moving straight onto Unknown Mortal Orchestra's back catalogue just to get some closure.
    • 66 Metascore
    • 70 Critic Score
    When Shall This Bright Day Begin
    There's a dryness that inhabits this music; and listening to to these future-past musical reliquaries (especially the fragile--and aptly named - end track, 'Death Of The Ego') you wonder whether it could all crumble away if subjected to the slightest breeze. Regardless; there is also a sense of an extraordinary concentration at work.
    • 66 Metascore
    • 80 Critic Score
    Angel Guts: Red Classroom
    This is a deliberate Difficult Listen, an Atrocity Exhibition, an Intense Humming Of Evil. If you've always been a Stewart-skeptic, there's a good chance you'll dismiss this as Super Hans conjuring a powerful sense of dread; if not, it's likely to genuinely unsettle.
    • 66 Metascore
    • 70 Critic Score
    Idiots
    Thomas White sings, oddly enough, too well, lacking the fragility of Nick Drake, the androgyny of Stuart Murdoch, not to mention Jim Morrison's virility.... Idiots! is an excellent journey through the more poppy instincts of Electric Soft Parade.
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