Q Magazine's Scores

  • Music
For 5,829 reviews, this publication has graded:
  • 39% higher than the average critic
  • 2% same as the average critic
  • 59% lower than the average critic
On average, this publication grades 6.9 points lower than other critics. (0-100 point scale)
Average Music review score: 65
Highest review score: 100 Room On Fire
Lowest review score: 0 Gemstones
Score distribution:
5,829 music reviews
    • 74 Metascore
    • 80 Critic Score
    Shine is a work of subtlety and hushed intimacy that, at times, barely seems to exist at all. [May 2003, p.109]
    • Q Magazine
    • 61 Metascore
    • 80 Critic Score
    18
    A more coherent album [than Play], it enchances rather than advances his previous approach, proving superior to its predecessor because its music is more sensitive, its emotions more personal, and what's on offer is a closer, more inviting experience. [May 2002, p.105]
    • Q Magazine
    • 71 Metascore
    • 80 Critic Score
    So is it White Ladder II? In a word, "yes." [Nov 2002, p.94]
    • Q Magazine
    • 70 Metascore
    • 80 Critic Score
    It's great, with well-judged strings and horns giving full rein to some marvellously acute lyrics.... A glorious return. [Oct 2002, p.117]
    • Q Magazine
    • 85 Metascore
    • 80 Critic Score
    The songs are perfectly pitched, and even the less obviously suited numbers are approached with interpretive genius. [Sep 2002, p.101]
    • Q Magazine
    • 73 Metascore
    • 80 Critic Score
    Hard, reverb-heavy, yet fluent guitar arabesques topped by husky, yearning, sorely troubled vocals. [Nov 2000, p.110]
    • Q Magazine
    • 80 Metascore
    • 80 Critic Score
    It works... stretching rap into weird new shapes. [Feb 2003, p.97]
    • Q Magazine
    • 73 Metascore
    • 80 Critic Score
    Everyone will say this sounds like Beck, but at the last count Beck would be lucky to sound like Eels.
    • 83 Metascore
    • 80 Critic Score
    Lilac6 is as effortlessly subtle and debonair as 1999's reformation album.
    • 77 Metascore
    • 80 Critic Score
    Despite a late lapse into mediocrity, the good here far outshines the bland. [Feb 2003, p.96]
    • Q Magazine
    • 68 Metascore
    • 80 Critic Score
    Revitalises originals such as Hejira and For The Roses while staying faithful to them. [Jan 2003, p.120]
    • Q Magazine
    • 84 Metascore
    • 80 Critic Score
    His best since 1995s Is The Actor Happy? [May 2003, p.100]
    • Q Magazine
    • 74 Metascore
    • 80 Critic Score
    A marvellous, surprising comeback from a forgotten talent. [Mar 2003, p.103]
    • Q Magazine
    • 79 Metascore
    • 80 Critic Score
    Poignant and sincere, this is a Bill Callahan we could do with more of. [Jun 2003, p.104]
    • Q Magazine
    • 76 Metascore
    • 80 Critic Score
    Its charms are bound up with the subtle pleasures of listening to these songs anew and re-understanding their make-up. [#184, p.127]
    • Q Magazine
    • 73 Metascore
    • 80 Critic Score
    While Cuttin' Heads hardly stretches him, Mellencamp dresses up his old tricks beautifully. [Mar 2002, p.125]
    • Q Magazine
    • 76 Metascore
    • 80 Critic Score
    This is their most rewarding yet, built to enjoy in one 38-minute session, languid, melancholy tunes growing out of barely audible static pulses, incoherently Vocodered whispers or preposterously exciting cymbal splashes, carried on by soft pianos, vulgarity-free brass and strings into Bitch Magnet-meets-Samuel Barber electric cataclysms.
    • 73 Metascore
    • 80 Critic Score
    The results are vintage sounding yet wholly fresh. [Feb 2003, p.98]
    • Q Magazine
    • 67 Metascore
    • 80 Critic Score
    A rhythmic assurance helps Muggs navigate the flabby portentousness that has hampered Massive Attack of late. [Apr 2003, p.113]
    • Q Magazine
    • 81 Metascore
    • 80 Critic Score
    The settings are spacious, the rhythms stately and Stuart Staples croons woozily about how it's all gone horribly wrong.
    • 70 Metascore
    • 80 Critic Score
    It really is hard to distinguish between the eight tracks here, but when a theme's this good, the variants are never going to be a problem. [Mar 2003, p.113]
    • Q Magazine
    • 80 Metascore
    • 80 Critic Score
    Quietly thrilling. [Feb 2002, p.113]
    • Q Magazine
    • 82 Metascore
    • 80 Critic Score
    Its kitsch-free excellence confirms Hawley as a balladeer of the very highest order. [Mar 2003, p.109]
    • Q Magazine
    • 75 Metascore
    • 80 Critic Score
    They even give Madonna's I Deserve It a new level of dignity. [Jan 2004, p.118]
    • Q Magazine
    • 84 Metascore
    • 80 Critic Score
    At its best, this is strangely charming, chiming pop music with a twist. At other times, the bare-boned production hampers the inventiveness, rendering a track such as Y Teimlad (The Feeling) a workmanlike Velvet Underground retread rather than the thing of symphonic beauty it briefly threatens to be.
    • 58 Metascore
    • 80 Critic Score
    The results are just wonderful. [Sep 2003, p.112]
    • Q Magazine
    • 81 Metascore
    • 80 Critic Score
    Like Moon Safari-era Air, unleashes shimmering, cinematic musical waves that gently wash over you but eventually suck you in entirely. [Nov 2002, p.113]
    • Q Magazine
    • 77 Metascore
    • 80 Critic Score
    Scarecrow's sense of defeat actually makes it a better record. [Jan 2002, p.96]
    • Q Magazine
    • 74 Metascore
    • 80 Critic Score
    Up
    Gabriel is mesmerising, his plaintive rasp never more gorgeous. [Oct 2002, p.107]
    • Q Magazine
    • 72 Metascore
    • 80 Critic Score
    A couple of the songs are grunge by rote, but the art-rock sensibility gleaned from Weiland's old David Bowie albums is evident in the whispered Hell It's Late. [Oct 2001, p.130]
    • Q Magazine