Q Magazine's Scores

  • Music
For 5,625 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 7 points lower than other critics. (0-100 point scale)
Average Music review score: 65
Highest review score: 100 Reveal
Lowest review score: 0 Gemstones
Score distribution:
5,625 music reviews
    • 100 Metascore
    • 100 Critic Score
    Stick to the main text: until they invent time travel, there's no better way to inhale the decadent air of the early '70s. [Jun 210, p.137]
    • Q Magazine
    • 100 Metascore
    • 100 Critic Score
    What burns from the music is The Clash's defining characteristic: the fact that they were insatiable omnivores. [Oct 2004, p.136]
    • Q Magazine
    • 100 Metascore
    • 80 Critic Score
    It still sounds fabulous and relevant too, though this Super Deluxe Edition with lots of superfluous add-ons and a super £50-plus price tag to match is surely for completists only. [Aug 2011, p.133]
    • Q Magazine
    • 99 Metascore
    • 80 Critic Score
    The sheer variety of music is astounding. [Jan 2013, p.114]
    • Q Magazine
    • 99 Metascore
    • 80 Critic Score
    This willfully obscure yet eerily beautiful music sounds all the more absorbing in remastered form. [May 2014, p.124]
    • Q Magazine
    • 98 Metascore
    • 100 Critic Score
    Blue Lines doesn't need [extras]. It was a classic in the truest sense, and unimprovable template that sound like it was recorded yesterday--or tomorrow. [Dec 2012, p.118]
    • Q Magazine
    • 98 Metascore
    • 100 Critic Score
    Upgrading previous remasterings, Page's personal touch brings out even more detail.... Each album's companion disc supplies both pleasure and an education. [Jul 2014, p.120]
    • Q Magazine
    • 97 Metascore
    • 100 Critic Score
    Sound System gives the full, eclectic picture. [Oct 2013, p.116]
    • Q Magazine
    • 97 Metascore
    • 80 Critic Score
    The real revelation of this new Smile is its melodic depth, even if lyricist Van Dyke Parks's oblique ruminations seem unnecessarily flowery. [Nov 2004, p.114]
    • Q Magazine
    • 97 Metascore
    • 90 Critic Score
    Nothing short of remarkable. [Jun 2004, p.102]
    • Q Magazine
    • 97 Metascore
    • 100 Critic Score
    Upgrading previous remasterings, Page's personal touch brings out even more detail.... Each album's companion disc supplies both pleasure and an education. [Jul 2014, p.120]
    • Q Magazine
    • 97 Metascore
    • 100 Critic Score
    Presents Led Zeppelin in all their ragged glory and heavy splendour. [Jul 2003, p.119]
    • Q Magazine
    • 96 Metascore
    • 80 Critic Score
    This exemplary boxset tells the whole, rather sorry saga of how a band who seemingly had everything going for them ended up with precisely nothing. [Oct 2009, p.122]
    • Q Magazine
    • 96 Metascore
    • 100 Critic Score
    The bonus material on both albums offer up further evidence that this was the Pumpkins' purple path. [Jan 2012, p.130]
    • Q Magazine
    • 96 Metascore
    • 60 Critic Score
    Ultimately Smile is a case of what might have been, and after all this time that's probably only to be expected. [Dec. 2011 p. 140]
    • Q Magazine
    • 95 Metascore
    • 100 Critic Score
    A snapshot of one of the most vital, intellectual, breathlessly thrilling bands Britain's ever produced. [Dec. 2011 p. 143]
    • Q Magazine
    • 95 Metascore
    • 80 Critic Score
    Dre and Big Boi (alias Andre Benjamin and Antwan Patton) fill their technicolour vision with the ghosts of Sly Stone, James Brown and, most notably, Funkadelic-era George Clinton. Factor in some distinctly unorthodox production and you've rap at its risk-taking best...
    • 95 Metascore
    • 100 Critic Score
    Upgrading previous remasterings, Page's personal touch brings out even more detail.... Each album's companion disc supplies both pleasure and an education. [Jul 2014, p.120]
    • Q Magazine
    • 95 Metascore
    • 100 Critic Score
    Upon its release in 1994, Definitely Maybe sounded messy and thrilling. Now, of course, it sounds like a classic. [Jun 2014, p.127]
    • Q Magazine
    • 95 Metascore
    • 80 Critic Score
    Sugar may have lacked the outsider appeal and cataclysmic cultural impact of Nirvana but he furnace-forged guitar pop of 1992 debut Copper Blue was a handsome match for Nevermind. [Aug 2012, p.114]
    • Q Magazine
    • 94 Metascore
    • 80 Critic Score
    The Promise itself is a strange thing, less a companion to Darkness than the blueprint for a lost sequel to Born To Run. [Dec 2010, p.118]
    • Q Magazine
    • 94 Metascore
    • 80 Critic Score
    17 years on, Liquid Swords represents hard-nosed hip-hop at its peak. [Oct 2012, p.117
    • Q Magazine
    • 93 Metascore
    • 90 Critic Score
    One utterly badass album. [Jul 2004, p.116]
    • Q Magazine
    • 93 Metascore
    • 80 Critic Score
    Before stardom, they stopped off to reinvent guitar rock. [Aug. 2011, p. 128]
    • Q Magazine
    • 93 Metascore
    • 80 Critic Score
    A second disc continues the upbeat mood of the main album. [Jan 2012, p.135]
    • Q Magazine
    • 93 Metascore
    • 80 Critic Score
    The fact that Grace Jones actually made a run of visionary '80s albums has long been rather overlooked, but this luxurious reissue goes a long way to righting that wrong. [Jun 2014, p.124]
    • Q Magazine
    • 93 Metascore
    • 80 Critic Score
    This is little short of a treat: a rambunctious dance through the more sepia-tinted corners of US musical history. [Oct 2001, p.122]
    • Q Magazine
    • 93 Metascore
    • 100 Critic Score
    This reissue underlines how much Achtung Baby's high-wire triumph owed to an era in flux and it's as excessive as it needs to be. [Dec. 2011 p. 138]
    • Q Magazine
    • 93 Metascore
    • 80 Critic Score
    The wild rhythms, unusual arrangements and often manic energy of the selections here still resonate. [Jan 2006, p.139]
    • Q Magazine
    • 93 Metascore
    • 80 Critic Score
    How, exactly, do you follow an album like Loveless? It's a question that pop has yet to answer. [Jun 2012, p.119]
    • Q Magazine
    • 93 Metascore
    • 80 Critic Score
    Weirdly timeless, even now. [Feb 2012, p.117]
    • Q Magazine
    • 92 Metascore
    • 80 Critic Score
    As with the Beatles, the outtakes and rarities are the best place to appreciate the abundance of songwriting chops and interpersonal chemistry Blur had at their disposal. [Sep 2012, p.118]
    • Q Magazine
    • 92 Metascore
    • 80 Critic Score
    The heartening sounds of an old master at work. [Oct 2011, p.117]
    • Q Magazine
    • 92 Metascore
    • 80 Critic Score
    They retained their best ideas for themselves though, since their debut album is striking escape from mere genre. [Review of UK version]
    • 92 Metascore
    • 80 Critic Score
    Brighten The Corners found the Califirnian indie five-piece buoyed by a more consistent set of songs than 1995's sprawling "Wowee Zowee." [Feb 2009, p.124]
    • Q Magazine
    • 92 Metascore
    • 70 Critic Score
    A long, sometimes hard, often inspired haul, this could easily have been pared down to a uniformly excellent double disc. [Dec 2006, p.138]
    • Q Magazine
    • 92 Metascore
    • 80 Critic Score
    Their joyous music has an even greater emotional weight. [Dec 2008, p.133]
    • Q Magazine
    • 92 Metascore
    • 70 Critic Score
    [A] strikingly stark and innovative debut. [Sep 2003, p.102]
    • Q Magazine
    • 92 Metascore
    • 80 Critic Score
    This 23-track collection of his formative spell with the New York-based Bang label makes a welcome reminder what a top pop tunesmith Neil Diamond was in his younger, Brill Building days. [Jul 2011, p.126]
    • Q Magazine
    • 92 Metascore
    • 80 Critic Score
    Vol. 1 is long on quality, variety and versatility, whatever format you choose. [Aug 2009, p.114]
    • Q Magazine
    • 92 Metascore
    • 80 Critic Score
    While Ocean's artistic ambition is impressive, it's his haunting candour that really casts a spell. [Sep 2012, p.106]
    • Q Magazine
    • 92 Metascore
    • 60 Critic Score
    The sheer wealth of material--over four hours' worth--seem designed to only excite the tastebuds of tourbus veterans. [Nov 2013, p.120]
    • Q Magazine
    • 92 Metascore
    • 90 Critic Score
    A record sufficiently impressive to suggest that White Blood Cells caught Jack and Meg using only a fraction of their talents. [Apr 2003, p.98]
    • Q Magazine
    • 92 Metascore
    • 100 Critic Score
    The vindication of this luxury raw Power is it bestows still greater kudos on Ron's band. [Jun 2010, p.140]
    • Q Magazine
    • 92 Metascore
    • 80 Critic Score
    It's a good album. [Apr 2014, p.122]
    • Q Magazine
    • 91 Metascore
    • 80 Critic Score
    Speakerboxxx takes up where Stankonia left off.... The Love Below isn't really hip hop at all. Its sound and lyrics owe a huge debt to, inevitably, George Clinton. [Sep 2003, p.97]
    • Q Magazine
    • 91 Metascore
    • 80 Critic Score
    This definitive 77-track anthology favours the early years, illustrating how quickly Stone and his multiracial crew evolved from a decent R&B outfit into a trailblazing psychedelic-soul gang show, [Oct 2013, p.117]
    • Q Magazine
    • 91 Metascore
    • 100 Critic Score
    The best album of 2004 so far, and by some distance. [Jun 2004, p.92]
    • Q Magazine
    • 91 Metascore
    • 100 Critic Score
    Throughout, quality doesn't waver; always sensually and intellectually rigorous, her songs touch on degrees of romantic disaffection and beyond with a sometimes uncomfortable gaze, and still sound freshly minted. [Jan 2013, p.119]
    • Q Magazine
    • 91 Metascore
    • 80 Critic Score
    They capture a group on the brink of a startling transition. [May 2013, p.116]
    • Q Magazine
    • 91 Metascore
    • 100 Critic Score
    Magnificent. [Nov 2013, p.121]
    • Q Magazine
    • 91 Metascore
    • 100 Critic Score
    It makes the case for some long-forgotten virtues: fast songs, staccato chords, songs about trysts in squalid apartments. You know, the good stuff.
    • 90 Metascore
    • 80 Critic Score
    Disc five means you can now hear it in its aborted "quadrophonic" surround sound mix. [Dec. 2011 p. 145]
    • Q Magazine
    • 90 Metascore
    • 80 Critic Score
    Stevens's love for the region, its people and legacy is palpable and infectious enough to send the curious scuttling straight towards the bookshelves to discover more. [Aug 2005, p.137]
    • Q Magazine
    • 90 Metascore
    • 100 Critic Score
    The original beats are still as fresh and inviting as a newly changed bed. At 10 tracks, Illmatic is satisfying lean and cohesive--remarkably so for a hip-hop album with five producers. [May 2014, p.125]
    • Q Magazine
    • 90 Metascore
    • 100 Critic Score
    These lavish Deluxe Editions are fat with rare tracks and live performances on accompanying DVDs - they are all the Beat anyone could ever wish for. [Aug 2012, p.112]
    • Q Magazine
    • 90 Metascore
    • 80 Critic Score
    The odd portentous lapse and minor clunker aside, the rate of killer lines is remarkably high. [Mar 2002, p.115]
    • Q Magazine
    • 90 Metascore
    • 80 Critic Score
    Its woozy title track, oddly sideways lyrics and often meditative vibe make it a strangely gorgeous and graceful work. [May 2002, p.114]
    • Q Magazine
    • 90 Metascore
    • 80 Critic Score
    That they've been forgotten for 30 years seems almost a crime, because they've got just about everything real soul music needs. [Feb 2004, p.118]
    • Q Magazine
    • 90 Metascore
    • 90 Critic Score
    It's so out of step with most indie rock it's as if it's been beamed from outer space. [Apr 2005, p.126]
    • Q Magazine
    • 90 Metascore
    • 80 Critic Score
    It feels like a nimble, pleasure-seeking record which takes its grown-up themes in its stride and wants to entertain first and impress second. [Feb 2011, p.126]
    • Q Magazine
    • 90 Metascore
    • 80 Critic Score
    This broadens his musical palette, with digi-dub, moody techno and deranged dubstep adding weight to Martin's winning sonic menagerie. [Aug 2008, p.132]
    • Q Magazine
    • 90 Metascore
    • 100 Critic Score
    The sound more fully formed than ever. [Oct 2013, p.114]
    • Q Magazine
    • 90 Metascore
    • 80 Critic Score
    Untrue lives in the present, its more complex moods showcasing the emotional range that marks Burial out as more than just another bloke with a computer. [Jan 2008, p.108]
    • Q Magazine
    • 90 Metascore
    • 80 Critic Score
    A darkly uncompromising and often difficult record: uneasy, sinister, scored and scarred with sonic detritus and, in layman?s terms, a bloody racket.
    • 90 Metascore
    • 80 Critic Score
    Z
    Z proves they have not lost the magical intimacy that touched 2001's At Dawn and '03's It Still Moves. [Nov 2005, p.127]
    • Q Magazine
    • 89 Metascore
    • 80 Critic Score
    This fourth solo album is daring and hugely composed. [Mar 2014, p.115]
    • Q Magazine
    • 89 Metascore
    • 80 Critic Score
    This is maverick electronica without the headaches. [Jul 2003, p.103]
    • Q Magazine
    • 89 Metascore
    • 80 Critic Score
    A record that finally fulfils sampling's original promise of generating fabulous new sounds from skilfully lifted bits of existing tracks.
    • 89 Metascore
    • 80 Critic Score
    While he has never sounded quite so full of empathy, this is a grumpy old record. [Oct 2006, p.114]
    • Q Magazine
    • 89 Metascore
    • 90 Critic Score
    Deep voiced, disquieting and bristling with intelligence, Hobo Sapiens is a reminder of how intoxicating an artist Cale can be. [Nov 2003, p.107]
    • Q Magazine
    • 89 Metascore
    • 100 Critic Score
    Twenty years, five discs, but Nevermind is always more than the sum of its parts. [Oct 2011, p.133]
    • Q Magazine
    • 89 Metascore
    • 80 Critic Score
    Yet again, Mann's songs concentrate on life gone wrong - but this is timeless stuff.
    • 89 Metascore
    • 80 Critic Score
    It's '80s synth-pop in spirit rather than form, miles away from the make-up clad silliness of electroclash and much more interested in muching about with present day technology than simply recreating the past. [Jun 2004, p.98]
    • Q Magazine
    • 89 Metascore
    • 80 Critic Score
    With Merriweather Post Pavillion, Animal Collective have refined their distinctive vision, once again proving they are ahead of the pack. [Feb 2009, p.1114]
    • Q Magazine
    • 89 Metascore
    • 80 Critic Score
    Mixes melancholy and might to a rare degree. [Sep 2002, p.104]
    • Q Magazine
    • 89 Metascore
    • 80 Critic Score
    The songs sounds just as fierce 20 years on. [Jul 2014, p.124]
    • Q Magazine
    • 89 Metascore
    • 70 Critic Score
    Almost entirely instrumental, but full of a subtlety often obscured by words. [Jul 2005, p.114]
    • Q Magazine
    • 89 Metascore
    • 80 Critic Score
    Without diluting the pair's roots, the 1 tracks weave a binding spell that feels just as familiar to Western ears as African. [Mar 2010, p.108]
    • Q Magazine
    • 89 Metascore
    • 80 Critic Score
    Pusha T and Malice are deft wordsmiths who deliver lean, whip-smart couplets. [Mar 2007, p.111]
    • Q Magazine
    • 89 Metascore
    • 60 Critic Score
    Opinions will still be divided--Murdoch as literary giant or self-important art school berk?--as, over 25 tracks, there's evidence of both. [Jul 2005, p.129]
    • Q Magazine
    • 89 Metascore
    • 80 Critic Score
    What a wild trip. [Jan 2014, p.133]
    • Q Magazine
    • 89 Metascore
    • 80 Critic Score
    Putting it on is less like listening to an album and more like scaling a mountain. [Jun 2014, p.121]
    • Q Magazine
    • 88 Metascore
    • 80 Critic Score
    The lasting impression os of music full of a magic and panache that a mere compilation album can't quite reflect. [dec 2008, p.136]
    • Q Magazine
    • 88 Metascore
    • 80 Critic Score
    A leap forward. [Apr 2004, p.120]
    • Q Magazine
    • 88 Metascore
    • 80 Critic Score
    A boundlessly entertaining expose of what happens when you mix fine words with excellent melodies to make great songs.
    • 88 Metascore
    • 80 Critic Score
    Her songs are challenging, expansive and cinematic, turning minimalist melodies on their heads and redefining the limits of pop. [Oct 2013, p.103]
    • Q Magazine
    • 88 Metascore
    • 80 Critic Score
    Bad As Me is as accessible as it is intelligent. At their heart, these are classic pop songs. That they're coated with his trademark wonder and weirdness makes them more special still. [Nov. 2011, p. 130]
    • Q Magazine
    • 88 Metascore
    • 100 Critic Score
    No two tracks are the same, none could be anyone else. This is one irresistible party: the joy Adebimpe was looking for is right here. A great, great record. [Oct 2008, p.154]
    • Q Magazine
    • 88 Metascore
    • 80 Critic Score
    An album full of playful daring. [Aug 2006, p.115]
    • Q Magazine
    • 88 Metascore
    • 80 Critic Score
    Wicked Grin is a bona fide revelation.... A rambunctious joy from beginning to end.
    • 88 Metascore
    • 40 Critic Score
    Most tracks follow a simple formula: the vocal from Don't Stop by the Stone Roses + layers of chimes + dog barks + crashing drums = mess. [Jun 2003, p.100]
    • Q Magazine
    • 88 Metascore
    • 80 Critic Score
    The swampy exotica that was draped around both 1995's To Bring You My Love and '98's Is This Desire? has been forgotten: as proved by the likes of Big Exit and the pleasingly frantic Kamikaze, the dominant sound is that of a three-piece garage band, fused with enough production panache to prove that Harvey remains an admirably intelligent auteur.
    • 88 Metascore
    • 80 Critic Score
    Songwriting thus warm and wise can't be as easy as Musgraves makes it sound. [Jul 2013, p.108]
    • Q Magazine
    • 88 Metascore
    • 100 Critic Score
    While 1992-2012 is no substitute for the seamless ebb and flow of dubnobasswith myheadman and Second Toughest In the Infants, there are some glorious moments. [Mar 2012, p.114]
    • Q Magazine
    • 88 Metascore
    • 80 Critic Score
    You wonder how many guitar bands in the interim have matched the standard set here. [Jun 2012, p.119]
    • Q Magazine
    • 88 Metascore
    • 80 Critic Score
    Even more mesmeric and deep into Nick Drake territory: intense and slightly damaged. [Jun 2004, p.94]
    • Q Magazine
    • 88 Metascore
    • 80 Critic Score
    Vespertine quietly proves that cutting-edge production and human contact aren't mutually exclusive. [Sep 2001, p.109]
    • 88 Metascore
    • 80 Critic Score
    This is largely intense, liberated stuff. [Nov 2004, p.111]
    • Q Magazine
    • 88 Metascore
    • 100 Critic Score
    Once again, Radiohead have proven themselves priceless. [Dec 2007, p.107]
    • Q Magazine