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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    • 84 Metascore
    • 80 Critic Score
    Midnight Rocker
    Ultimately, Midnight Rocker is a worthy, maybe even essential, addition to both Horace Andy and Adrian Sherwood’s massive catalogues. It’s not perfect, but there’s a strange vitality in its imperfection, and that energy, that vitality – whatever it is – is incredibly compelling.
    • 87 Metascore
    • 80 Critic Score
    Wet Leg
    Funny, weird, irreverent, a bit messy in places, Wet Leg’s debut feels like a rollicking night out at your local indie disco compacted into thirty-six brisk and breezy minutes. Across a dozen by turns funny and fraught tracks, the highs and lows of twenty-something life are captured with zinging joie de vivre.
    • 75 Metascore
    • 90 Critic Score
    The Unfolding
    An important component to the Paraorchestra’s practice is melding analogue, digital, and assistive instruments. The results, as heard across these eight ambitious compositions, are completely spellbinding. ...
    • 83 Metascore
    • 80 Critic Score
    Whatever the Weather
    Despite this slightly bathetic penultimate track, however, Whatever The Weather is an excellent, and at times thrilling, exposition of a particular side of James’ music-making, a strange and alien concoction that reels you into its jellied depths.
    • 82 Metascore
    • 80 Critic Score
    Broken Hearts Club
    There’s no clever foreshadowing here, and the real-time emotions make the death of the relationship so much more powerful. Both she and we got something terrific out of it.
    • 87 Metascore
    • 80 Critic Score
    Under the Bridge
    All the material contained within is new, and very good. The bands are in fine form, building on their former forms.
    • 83 Metascore
    • 80 Critic Score
    Two Ribbons
    The approach behind Two Ribbons is omnivorous, forming a vibrant kaleidoscope that fluidly twists between genres. ... Despite its more gentle touch, the album’s spirit remains restless, transmogrifying.
    • 82 Metascore
    • 80 Critic Score
    Labyrinthitis
    It is certainly a dizzyingly contagious collection of songs that benefit from main man Dan Bejar’s scattergun technique of song selection. Not for him, the smooth transition from song to song, building neatly to a gentle climax. It is in his blood to unhinge the casual listener and provide a shifting backdrop for his lively lyricism.
    • 83 Metascore
    • 80 Critic Score
    Sonancy
    With less decay and bleed coming from the guitars, Sonancy benefits from a greater degree of separation in its instrumentation. Consequently, every track gets to breath. There’s little stifling claustrophobia at play here and much like the psychedelic experience, the music reaches and stretches out for a greater truth and space.
    • 83 Metascore
    • 80 Critic Score
    Only Love From Now On
    What we're witnessing here isn’t radical reinvention (which is hugely overrated anyhow), but the continued refinement and mastery of a specific milieu, and the judicious introduction of new elements and a new collaborator in Arve Henriksen.
    • 94 Metascore
    • 70 Critic Score
    Motomami
    The highs here hedonistically bounce around big beats, and the ease in which Rosalía can rap coolly about her status and influence is just as easy as you get wrapped up in it. ... Sadly, Rosalía does not find a way to organise her many ideas well. The tracklist’s brisk changes in energy and awkward hard endings deny any chance of momentum-building.
    • 70 Metascore
    • 80 Critic Score
    Hard Times Never Kill
    Although occasionally straying a bit too close to generic Afro-rock, the group still manage to keep it all on the right side of the classic sungura sound before mixing it up a bit on the final track.
    • 84 Metascore
    • 90 Critic Score
    Frank
    There’s no obvious world-building or self-contained story to give Frank the pomp and circumstance you might expect from a major breakthrough rap record in 2022, but he doesn’t need one. The subtlety and detail of his songwriting does that on its own. The world is his for the taking.
    • 85 Metascore
    • 90 Critic Score
    Classic Objects
    [Jenny Hval's] most straightforward record to the date, full of colourful and warm sounds – as well as one of her finest pop tunes.
    • 77 Metascore
    • 70 Critic Score
    For the Sake of Bethel Woods
    A good album, but one better suited to a former time.
    • 85 Metascore
    • 80 Critic Score
    Multitude
    His third album may not perform the economic miracles of the second, but it’s a powerful addition to Stromae’s canon and a beautiful gift to the world.
    • 83 Metascore
    • 80 Critic Score
    Everything Was Beautiful
    The songs have all benefitted from these unexpected levels of time and space to add additional material and occasional re-writing. Pulling from the twin pressures of studio time and commercial schedule combined to give the songs a sense of gentle completeness.
    • 84 Metascore
    • 80 Critic Score
    Limbs
    In its fullness and emptiness, all at once, Limbs is an album that dares the listener not to fall for it. Keeley Forsyth is a world builder and Limbs is an outstanding record.
    • 83 Metascore
    • 70 Critic Score
    Pray for Me I Don't Fit In
    Pretty much the whole way through, without pausing for breath, Pray For Me I Don’t Fit In sounds like a carnival band decided to make a covers album of 90s industrial rock classics. I don’t reckon this is an influence they’re especially punting for. However, happily or not, it’s where they land. This is a thrilling mosh, though it can get annoying.
    • 89 Metascore
    • 80 Critic Score
    Feeding the Machine
    The central two of the six tracks are a bit of a cruise by comparison. .. Machine-fed streaks of looping refrains and rippling electronics make for a pleasing melange, no doubt, but it’s the surrounding four tracks which really vindicate the horizon-opening technocultural paradigm which apparently informed the album’s concept.
    • 79 Metascore
    • 80 Critic Score
    B Flat A
    There is a presence conjured up by Trupa Trupa’s music. And it seems to have made itself more manifest on B Flat A.
    • 82 Metascore
    • 80 Critic Score
    Tongues
    The intensity is stunning and continued across the remaining nine cuts, but shaped into divergent designs.
    • 85 Metascore
    • 80 Critic Score
    Pompeii
    It conjures up a wistfulness for times you don't even necessarily want to revisit. Beneath all the complex layering of instruments, the whirlwind of sounds and styles, it’s these simple and powerful feelings that cut through.
    • 83 Metascore
    • 80 Critic Score
    Few Good Things
    The overall mood then is distinctly chill and pleasingly psychedelic. There’s enough space echo going on here to tranquillise a horse. Like cLOUDDEAD or Donuts, Few Good Things is one of the great bedroom hip hop records.
    • 85 Metascore
    • 80 Critic Score
    Glitch Princess
    Yeule sits in a coterie of future thinkers making eclectic pop music, and since the scene has become a cultural firecracker in the last few years, many artists are seeing praise for work that rests on its recent success. Glitch Princess moves the goalposts once again.
    • 82 Metascore
    • 80 Critic Score
    Live at Montreux Jazz Festival
    If you’re new to her, this is an ideal introduction to Hausswolff’s dense but sinuous music. But for true believers, it’s a blessed sacrament for the overwhelming of the ordinary world.
    • 78 Metascore
    • 70 Critic Score
    In Free Fall
    In Free Fall often feels like floating, but it never really makes the crash-landing you’d expect from gravity’s pull. Rather, it stays in the atmosphere, lingering on the feeling of uncertainty of a jump, right before your feet touch the ground.
    • 77 Metascore
    • 80 Critic Score
    Wilds
    Wilds feels like a homecoming for a band that was doing the 60s-influenced, boot-fair futurist thing long before it was cool. What a treat to have them back.
    • 74 Metascore
    • 80 Critic Score
    Archive Material
    With Archive Material, Silverbacks bring so much fun, personality, and excellent musicianship across their songs. It’s a record that, once again, confirms a bright future ahead.
    • 80 Metascore
    • 80 Critic Score
    Caprisongs [Mixtape]
    CAPRISONGS is light on its feet and more accessible than her tricksier electronic work but, whether she's delivering dancehall, hip-house, afrobeat or drill, almost all of these are songs which could only have twigs' name on them – take the glitchy, snatched vocals on 'ride the dragon' or the elegiac harp at the end of 'lightbeamers', mixed among the sub-bass and the hi-hats. CAPRISONGS is a testament to twigs' voice.
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