Q Magazine's Scores

  • Music
For 8,545 reviews, this publication has graded:
  • 42% higher than the average critic
  • 3% same as the average critic
  • 55% lower than the average critic
On average, this publication grades 5.7 points lower than other critics. (0-100 point scale)
Average Music review score: 67
Highest review score: 100 A Hero's Death
Lowest review score: 0 Gemstones
Score distribution:
8545 music reviews
    • 78 Metascore
    • 60 Critic Score
    Opener 9:13 is too close perhaps to Brian Eno to make much of an impact. But when a chorus of ghostly voices rise above the fractured piano of Phantom Brickworks III, the theme really works, offering a genuinely unsettling air of spookiness. [Jan 2018, p.106]
    • Q Magazine
    • 66 Metascore
    • 60 Critic Score
    Lindberg is dedicated to atmosphere, and if these songs are disconcertingly hazy as they move through the dry ice, they just about hold a twisted shape of their own. [Jan 2016, p.111]
    • Q Magazine
    • 73 Metascore
    • 60 Critic Score
    Some of it is beautiful, but perhaps they should've enlisted the help of their offbeat brother Rufus to add a bit more colour to the canvas. [Jan 2016, p.115]
    • Q Magazine
    • 79 Metascore
    • 60 Critic Score
    What Mew have come up with here is a gently twinkling Mercury Rev-ish album of experimental percussive nonsense and occassional jazz-like noodling that somehow manage to hypnotise even while they irritate. [Oct 2009, p.114]
    • Q Magazine
    • 80 Metascore
    • 60 Critic Score
    There's a little too much in the way of filler, but this is a promising start. [Feb. 2011, p. 113]
    • Q Magazine
    • 71 Metascore
    • 60 Critic Score
    In its crunchy guitars, rich harmonies and fist-pumping choruses, there's a warmth and positivity that, while occasionally too smooth, shows an admirable disregard for current trends. [Jun 2010, p.128]
    • Q Magazine
    • 74 Metascore
    • 60 Critic Score
    The significance of their sonic puzzles can remain frustratingly out of reach. [Jul 2014, p.114]
    • Q Magazine
    • 55 Metascore
    • 60 Critic Score
    Combining Koretsky's electro throb, Rourke's funky bass and O'Riordan's distinctive, albeit newly toned vocals. It particularly works on the uptempo and lush The Moon and the more hardcore Gunfight, enhancing everyone's reputation. [Oct 2016, p.107]
    • Q Magazine
    • 67 Metascore
    • 60 Critic Score
    Unfortunately there's no left-field motion, no unexpected turns, none of the twist'n'crawl that separated them from the workaday pack. [Nov 2016, p.102]
    • Q Magazine
    • 68 Metascore
    • 60 Critic Score
    Elsewhere they veer off into roboid electro, but a certain lack of variety costs points. [Oct 2011, p.124]
    • Q Magazine
    • 77 Metascore
    • 60 Critic Score
    While the proceedings might be more restrained than usual on the '80s hardcore-aping Husker Don't and Sabbath clatter of Halloween 3, if you think Lightning Bolt have softened you're very much mistaken. [Jan 2020, p.110]
    • Q Magazine
    • 74 Metascore
    • 60 Critic Score
    Surprisingly muted, sophisticated synth-pop that lowers its eyes and keeps to the shadows, a glint of hi-tech disco chrome occasionally catching the light. [Feb 2018, p.116]
    • Q Magazine
    • 66 Metascore
    • 60 Critic Score
    Curious fans of contemporary pop-house acts such as Disclosure might find the spartan style forbidding, but once Dunn hits his groove it's impossible not to feel the force. [Feb 2018, p.108]
    • Q Magazine
    • 77 Metascore
    • 60 Critic Score
    This debut collection of lo-fi chillwave-esque electronics and introspective song fragments locates itself deftly between Animal Collective's strung-out post-rock and the drum machine-powered sketches of Casiotone For The Painfully Alone.[Dec. 2011 p. 137]
    • Q Magazine
    • 60 Metascore
    • 60 Critic Score
    The new problem is a lack of texture: in aiming for big hooks and big bucks, they've thrown variety out the window. [Jun 2009, p.134]
    • Q Magazine
    • 82 Metascore
    • 60 Critic Score
    Unexpectedly vibrant, like riot grrrl with tunes. [Oct 2002, p.100]
    • Q Magazine
    • 74 Metascore
    • 60 Critic Score
    Yann Tiersen's latest is as distant from that film's {Amelie's] accordion-powered melodies as his native Brittany is from Paris. [Jul 2014, p.117]
    • Q Magazine
    • 76 Metascore
    • 60 Critic Score
    There isn't anything quite as special as, say, Veronica but the veins at Costello's temples are throbbing again.
    • 62 Metascore
    • 60 Critic Score
    Mostly, it's tight but standard. [Jan 2004, p.114]
    • Q Magazine
    • 70 Metascore
    • 60 Critic Score
    If, after a while, it just hangs there like a low mist, Noctunes is still a thing of impressive substance made by a very striking somebody. [Oct 2015, p.102]
    • Q Magazine
    • 70 Metascore
    • 60 Critic Score
    It's warmly unreal how in thrall he remains to The Beatles, from melodic progressions down to the thwack of drums, but these heartache-powered ballads retain a simple elation at the power of rock'n'roll. [Jan 2020, p.110]
    • Q Magazine
    • 69 Metascore
    • 60 Critic Score
    It's all a disarmingly easy listen, even if their sugar-spun harmonies at times prove a touch too sweet. [Dec 2015, p.112]
    • Q Magazine
    • 64 Metascore
    • 60 Critic Score
    This compilation of remixes doesn't find too many revelatory portals in St. Vincent's fifth album Masseducation, but there are moments that know just how to push open the wormholes in Annie Clark's flexible, fluid music. [Feb 2020, p.116]
    • Q Magazine
    • 74 Metascore
    • 60 Critic Score
    Not all of it works but tracks such as the duskily euphoric Dojo Rising; Moonrabbit, all sunny, West Coast harmonies; and Ice Age Heatwave, which sparkles on a soundscape of otherworldly guitars, are epic in both sound and ambition. [Nov 2013, p.102]
    • Q Magazine
    • 82 Metascore
    • 60 Critic Score
    He's still more traditionalist than outlier, but that's not necessarily a bad thing. [Jul 2020, p.19]
    • Q Magazine
    • 46 Metascore
    • 60 Critic Score
    The lascivious lyrics have gone, replaced by monotone melancholic musings on love and loss that initially grate, but actually compliment the minimalist cello and piano arrangements. [Oct 2008, p.139]
    • Q Magazine
    • 72 Metascore
    • 60 Critic Score
    Sawhney's gentle yet eclectic studio skills make everything agreeable enough but the opening song sets a standard he never tops. [Nov 2008, p.120]
    • Q Magazine
    • 61 Metascore
    • 60 Critic Score
    Essentially, the Hollywood sunshine hasn't changed them. This is probably best, as Smith's eccentricities still elevate Maximo Park above the guitar-pop herd. [Jun 2009, p.128]
    • Q Magazine
    • 67 Metascore
    • 60 Critic Score
    They still sound a little too arch and buttoned-up to make a convincing transition from lab to club. [Jun 2014, p.111]
    • Q Magazine
    • 72 Metascore
    • 60 Critic Score
    It's all good fun. [June 2002, p.126]
    • Q Magazine
    • 62 Metascore
    • 60 Critic Score
    Not all the songs are as well-defined as the skittish pop of Our Eyes, however, and while beautifully enunciated melancholy is her default setting, this record could do with more sharp edges. [Aug 2015, p.111]
    • Q Magazine
    • 71 Metascore
    • 60 Critic Score
    Still work to be done here. [Aug 2015, p.106]
    • Q Magazine
    • 65 Metascore
    • 60 Critic Score
    All We Need is a lot more powerful, and a heap more fun, when it aims for transcendence. [Dec 2015, p.112]
    • Q Magazine
    • 79 Metascore
    • 60 Critic Score
    Niggling familiarity is a recurring issue here. [Jan 2019, p.111]
    • Q Magazine
    • 67 Metascore
    • 60 Critic Score
    A welcome outing from an overlooked talent. [Nov 2012, p.105]
    • Q Magazine
    • 71 Metascore
    • 60 Critic Score
    The demos remind you that Stevens doesn't need much more than a guitar and an iPhone to work his magic. [Feb 2018, p.119]
    • Q Magazine
    • 70 Metascore
    • 60 Critic Score
    O
    It's a heady, exuberant mix, although the mystifyingly reduced vocal contribution of Jamie's husband Derek in turn reduces their uniqueness. [Nov 2008, p.123]
    • Q Magazine
    • 68 Metascore
    • 60 Critic Score
    At times, the album merely provides a straight-arrow version of more twisted talents. [Jan 2014, p.124]
    • Q Magazine
    • 78 Metascore
    • 60 Critic Score
    Atmospheric and richly layered, their best moments tap the same ecstatic eclecticism of fellow travellers Sufjan Stevens and Beirut's Zach Condon. [Nov 2008, p.114]
    • Q Magazine
    • 70 Metascore
    • 60 Critic Score
    Telepathe appear devoted to doing something utterly different, which cannot help but be exciting. [Feb 2009, p.116]
    • Q Magazine
    • 76 Metascore
    • 60 Critic Score
    Another way classy set they make. [May 2009, p.118]
    • Q Magazine
    • 74 Metascore
    • 60 Critic Score
    All told, a successful modernisation of an old formula. [May 2009, p.118]
    • Q Magazine
    • 60 Metascore
    • 60 Critic Score
    X
    Certainly there are some weak tracks... but Long Long Way To Go and Unbelievable are expertly crafted pop-rock tunes. [Aug 2002, p.122]
    • Q Magazine
    • 69 Metascore
    • 60 Critic Score
    A belligerent record: fiercely independent, full of right angles, curious sound effects and a guitarist, Aziz Ibrahim, who believes, incorrectly, that the soul of Jimi Hendrix is preserved in his G-string.
    • 79 Metascore
    • 60 Critic Score
    Kozelek's sparse, haunting delivery can render even the basest material achingly affecting...
    • 67 Metascore
    • 60 Critic Score
    There's talent here and with a slight upping of the serotonin levels next time round, Real Lies could yet be onto something. [Dec 2015, p.112]
    • Q Magazine
    • 75 Metascore
    • 60 Critic Score
    There's enough flickers of former greatness within to be glad he's stil there. [Dec 2007, p.120]
    • Q Magazine
    • 81 Metascore
    • 60 Critic Score
    Roberts inhabits this work so entirely you can't really imagine him trudging through the same grey world as the rest of us. [Mar 2015, p.114]
    • Q Magazine
    • 68 Metascore
    • 60 Critic Score
    In the end, pretty and vacant just about covers it. [Mar 2013, p.94]
    • Q Magazine
    • 71 Metascore
    • 60 Critic Score
    It's Envy's quietest moment, a hazy cover of Bowie's Letter To Hermione, which is the real diamond in the rough here. [Apr 2012, p.105]
    • Q Magazine
    • 71 Metascore
    • 60 Critic Score
    A proper, reggae-tinged rock album. [Jun 2003, p.104]
    • Q Magazine
    • 75 Metascore
    • 60 Critic Score
    It might be summer, but autumnal is the atmosphere here. [Summer 2018, p.114]
    • Q Magazine
    • 66 Metascore
    • 60 Critic Score
    Makes a perfect case for music as therapy. [May 2012, p.91]
    • Q Magazine
    • 68 Metascore
    • 60 Critic Score
    Sub-Lingual Tablet is occasionally lumpen, frequently marred by Smith's recently adopted growl yet powered by enough energy and spark to burn through any reservations. [Jun 2015, p.105]
    • Q Magazine
    • 68 Metascore
    • 60 Critic Score
    While Head First more than delivers on its title's promise of instant sensation, like an uncorked bottle of champagne, it inevitably loses its fizz. [Apr 2010, p.110]
    • Q Magazine
    • 62 Metascore
    • 60 Critic Score
    Rather good fun. [Nov 2002, p.116]
    • Q Magazine
    • 70 Metascore
    • 60 Critic Score
    They do succumb to indulgence--most pointedly on bloated eight-minuter Deep Water--but if you're prepared to allow them, they're just about worth it. [Jul 2011, p.116]
    • Q Magazine
    • 71 Metascore
    • 60 Critic Score
    Vocally, Fogerty still shreds, and this lively album omits enough of his gems to hint at a sequel. [Aug 2013, p.97]
    • Q Magazine
    • 81 Metascore
    • 60 Critic Score
    The experimental approach drifts into plain old messing about more than once, but when he gets it right, it's superb. [Aug 2013, p.99]
    • Q Magazine
    • 73 Metascore
    • 60 Critic Score
    The further you get into Mythologies, the further off-piste Cheatahs go. [Nov 2015, p.106]
    • Q Magazine
    • 72 Metascore
    • 60 Critic Score
    While hopes of stardom might have passed, there are a few minor gems in here. [June 2008, p.148]
    • Q Magazine
    • 71 Metascore
    • 60 Critic Score
    There's not an original thought in the quartet's heads, giving them free reign to gleefully exhume the corpses of Black Sabbath and Kyuss with hulking riffs and bear-like voices. [Apr 2008, p.107]
    • Q Magazine
    • 70 Metascore
    • 60 Critic Score
    Grote can at times sounded penned in by the relative straightness of the source material, yet this is an enjoyable noisy debut. [Mar 2015, p.106]
    • Q Magazine
    • 78 Metascore
    • 60 Critic Score
    It's furious stuff. [Mar 2013, p.101]
    • Q Magazine
    • 79 Metascore
    • 60 Critic Score
    Entertaining though these tracks are, it's hard not to wish that he could ignore the buzzing irritations of not being universally adored, all the time, forever, and concentrate on the big picture. [Mar 2009, p.90]
    • Q Magazine
    • 47 Metascore
    • 60 Critic Score
    Halfway through... it becomes a directionless mess. [Jul 2004, p.113]
    • Q Magazine
    • 72 Metascore
    • 60 Critic Score
    Their most adventurous and assured album to date?
    • 75 Metascore
    • 60 Critic Score
    It takes a while to adjust to the darkness generated by these songs of loss, age and adultery, but once you have, you won't want to leave Shah's night visions behind. [Aug 2013, p.104]
    • Q Magazine
    • 64 Metascore
    • 60 Critic Score
    The result is almost entirely vaudevillian. [Mar 2002, p.116]
    • Q Magazine
    • 63 Metascore
    • 60 Critic Score
    There's nothing here that challenges the listener. [Mar 2004, p.112]
    • Q Magazine
    • 68 Metascore
    • 60 Critic Score
    For all its finite charms, though, Mirage Rock lacks the slinkiness of Infinite Arms. [Oct 2012, p.93]
    • Q Magazine
    • 64 Metascore
    • 60 Critic Score
    In short: challenging stuff. [Dec 2016, p.113]
    • Q Magazine
    • 69 Metascore
    • 60 Critic Score
    [Sey] struggles to find a style that's truly her own on an album that see-saws between brooding electronic blues and expansive pop ballads. [Dec 2015, p.113]
    • Q Magazine
    • 61 Metascore
    • 60 Critic Score
    A confident step on from 2015's Contradictions. [Jan 2019, p.113]
    • Q Magazine
    • 72 Metascore
    • 60 Critic Score
    A perfectly acceptable retrenchment. [Nov 2013, p.105]
    • 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
    • 74 Metascore
    • 60 Critic Score
    Some suitably dramatic music. [Feb 2016, p.115]
    • Q Magazine
    • 65 Metascore
    • 60 Critic Score
    X
    If Kylie's musical ambitions extend further than play-safe good times of X, she's keeping them, like everything else, to herself. [Dec 2007, p.108]
    • Q Magazine
    • 75 Metascore
    • 60 Critic Score
    Casablancas's lyrics are, as ever, largely and deliberately incomprehensible, but enough phrases slip intermittently into the foreground to convince you that they must mean something. [May 2020, p.98]
    • Q Magazine
    • 74 Metascore
    • 60 Critic Score
    Gary Clark, Jr merges smooth vocals with economical guitar wizardry and makes it all sound less wearyingly pub-rock by embracing the 21st century. [Mar 2013, p.95]
    • Q Magazine
    • 80 Metascore
    • 60 Critic Score
    Even if diverse moods elude them, they channel disenchantment superbly. [Jun 2019, p.108]
    • Q Magazine
    • 70 Metascore
    • 60 Critic Score
    This is an assured solo debut from the MC. [Oct 2009, p.111]
    • Q Magazine
    • 76 Metascore
    • 60 Critic Score
    At times, stellar. [Jun 2014, p.112]
    • Q Magazine
    • 75 Metascore
    • 60 Critic Score
    With sympathetic production by reggae stalwart Mike "Prince Fatty" Pelanconi, the results combine Janet Kaye's lovers rock, the Wailers' pop years and the sound of Compass Point studios. [Jun 2014, p.107]
    • Q Magazine
    • 65 Metascore
    • 60 Critic Score
    By the end, they're almost sounding like their own band, rather than a Thin Lizzy tribute act. [Jul 2013, p.100]
    • Q Magazine
    • 63 Metascore
    • 60 Critic Score
    A lack of sonic variety and a mild sense of deja vu won't help to advance his cause. [Aug 2014, p.110]
    • Q Magazine
    • 73 Metascore
    • 60 Critic Score
    If you're it the mood for a trawl through R&B's greatest hits delivered on R. Kelly's own terms, if not always in his own style, that's just how you'll like it. [Aug 2012, p.101]
    • Q Magazine
    • 51 Metascore
    • 60 Critic Score
    Low on booty-shaking but high on atmosphere. [June 2002, p.119]
    • Q Magazine
    • 64 Metascore
    • 60 Critic Score
    There's something ageless about these songs that make them art-school tasteful rather than genuinely unsettling. [Oct 2011, p.112]
    • Q Magazine
    • 70 Metascore
    • 60 Critic Score
    If Ski Mask fails to be a hit now, though, give it 20 years and it'll be cult gold. [Nov 2013, p.102]
    • Q Magazine
    • 65 Metascore
    • 60 Critic Score
    Predictable, but not unpleasantly so. [Feb 2007, p.105]
    • Q Magazine
    • 71 Metascore
    • 60 Critic Score
    [An] equally seductive follow-up [to 2013's Woman] with a musical collective shaped from his touring band. [Mar 2018, p.113]
    • Q Magazine
    • 71 Metascore
    • 60 Critic Score
    With Pedro de Dios Barcelo's vocals so Andalusian-accented even other Spaniards have trouble following. No Matter: their readiness to rumble transcends such trifles. [Feb 2016, p.111]
    • Q Magazine
    • 74 Metascore
    • 60 Critic Score
    A collection of jangly guitar pop that struggles to locate a niche within their favoured genre. [Mar 2019, p.116]
    • Q Magazine
    • 74 Metascore
    • 60 Critic Score
    Silver Eye's strength lies with its strong sense of mood rather than any truly memorable material. [May 2017, p.104]
    • Q Magazine
    • 75 Metascore
    • 60 Critic Score
    The world may have moved on but they haven't, so '80s funk backdrops merge with Sweet pea Atkinson and Sir Harry Bowen's classic soul vocals and some biting surreal lyrics. [May 2008, p.141]
    • Q Magazine
    • 78 Metascore
    • 60 Critic Score
    These songs are Blake at his best and most sonically inventive. At 75 minutes-plus and 17 tracks, though, the whole presents a challenge at odds with the sensitivity of those romantic reveries. [#361, p.117]
    • Q Magazine
    • 74 Metascore
    • 60 Critic Score
    As befits a title meaning "peaceful," Eirenic Life is background balm for modern life. [Aug 2017, p.109]
    • Q Magazine
    • 66 Metascore
    • 60 Critic Score
    Everything Now offers an underwhelming kind of overload: too much, but still not quite enough. [Aug 2017, p.113]
    • Q Magazine
    • 69 Metascore
    • 60 Critic Score
    Weird Drift is a lighter and less oppressive affair [than Love & Devotion]. [Jun 2014, p.112]
    • Q Magazine