The Quietus' Scores

  • Music
For 1,171 reviews, this publication has graded:
  • 60% higher than the average critic
  • 5% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 1.7 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Slave Vows
Lowest review score: 0 Lulu
Score distribution:
1171 music reviews
    • 76 Metascore
    • 60 Critic Score
    As the title of the soporific, sunbleached skank that is 'LO HI' suggests, 'Lucifer' is more a subdued warm bath of than a plunge into the psyche.
    • 72 Metascore
    • 60 Critic Score
    Blues Control are no longer noisy or childishly rudimentary, at least by most avant-yardsticks. Cho, on piano and keyboards, improvises with a new deftness; Waterhouse claws back a degree of rockism with thudding boogie drums and a guitar choked with the dust of its own basement.
    • 64 Metascore
    • 60 Critic Score
    On the album's first half, everything sounds correct but lacks any intoxicating, addictive spark.... [Yet] when its mood alters, somewhere around the metal wasteland of 'Lagoon Leisure', and things start getting sinister, then Regional Surrealism becomes (finally) exciting. The record transforms into a deeply disconcerting experience, all eerie shadows and claustrophobic spaces.
    • 68 Metascore
    • 60 Critic Score
    That Four is laced with some of the band's hands-down strongest work, then, makes its weaker moments and occasional in-your-face insistence all the more grating.
    • 79 Metascore
    • 60 Critic Score
    They perfect the formula occasionally - penultimate track 'Swept Away' matches its name, a pillow-soft cascade of plummy bass notes and piano house, across which their voices whisper like wind - but for much of Coexist they sound halting, nervous, afraid to push beyond the boundaries they've created around their sound.
    • 71 Metascore
    • 60 Critic Score
    Bossalinis & Fooliyones is, at worst, an amiable enough diversion, at best it's very entertaining.
    • 73 Metascore
    • 60 Critic Score
    With little meat on the bones, it's difficult wrap your jaws around and as those occasional deep-filled prog wig-outs keep slipping away, they provide a glimmer of hope, but the doses are far too small and far too measured to have any real effect.
    • 68 Metascore
    • 60 Critic Score
    Re-recording one's old songs in an older style isn't a revolutionary manoeuvre.... Kylie's addition to the tradition is also a fairly mixed bag.
    • 76 Metascore
    • 60 Critic Score
    For every instance on III set to give the listener an aural acid bath, there are nearly as many that might induce a snooze on the bus, and a dribble on your neighbouring passenger's shoulder.
    • 70 Metascore
    • 60 Critic Score
    Anything In Return feels again like the work of an artist still exploring his sound and yet to pin it down to something concrete.
    • 84 Metascore
    • 60 Critic Score
    Voivod have a hardcore following and for most, this much anticipated album will be received with adoration. For the rest of us, it's to be hoped that with relatively new bandmate in Mongrain, this is a transient moment before they head off to fight new battles.
    • 76 Metascore
    • 60 Critic Score
    Intermittently enjoyable, Wonderful, Glorious is unmistakably the work of Eels but unlike previous and successful meditations, their tenth album frequently feels like well-honed schtick rather than a worthwhile insight.
    • 65 Metascore
    • 60 Critic Score
    A mixed bag then but one that will doubtless prove that one person's high will be another one's low.
    • 82 Metascore
    • 60 Critic Score
    The lack of immediacy isn't Vile's biggest problem here: it might seem trivial, but Wakin On A Pretty Daze is his first release that doesn't improve upon his last.
    • 75 Metascore
    • 60 Critic Score
    Mosquito may conjure a similar frenzy to the Yeah Yeah Yeahs' previous three albums, but it paints a disjointed picture of the band's turbulent history, on an already messy canvass
    • 87 Metascore
    • 60 Critic Score
    As great as these tracks are though, it's difficult to shake the feeling that they just aren't really Daft Punk.
    • 76 Metascore
    • 60 Critic Score
    There are moments when Clarietta breaks from being the wallflower at the indie disco, and lets fly with a few carefree windmills.
    • 54 Metascore
    • 60 Critic Score
    Excuse My French so blatantly plunders rap radio's past and present that once one stops expecting anything original there's little left to do than mentally catalog the references. Yet while French Montana isn't doing anything new, he's also not doing anything wrong.
    • 64 Metascore
    • 60 Critic Score
    DVA
    By compartmentalising Emika as it does, DVA leaves a nagging sense that she's still selling herself a little short.
    • 80 Metascore
    • 60 Critic Score
    It's more that Kveikur feels more like an unfinished trip (through said glaciers, perhaps), where the destination is in sight, but seen only from the halfway point.
    • 71 Metascore
    • 60 Critic Score
    While With Love is an ambitious and entertainingly composed undertaking, offering glimpses into Zomby’s varied inspirations, it can still be frustratingly piecemeal and somewhat self-indulgent.
    • 62 Metascore
    • 60 Critic Score
    On its own merits, it's a decent enough record with some interesting tracks on it, even if they sometimes sound like nicely turned B-sides rather than top drawer material.
    • 79 Metascore
    • 60 Critic Score
    At times things get messy and sound a lot like Ferreria and her various producers totally forgot what was going on ('Omanko' & 'Kristine') but these moments do a great job of hammering home the fact that the record clearly wasn't signed off by someone with a seasoned commercial agenda.
    • 68 Metascore
    • 60 Critic Score
    The result is that you're having fun--on tracks like the stellar title-track and the popping candy overload of 'Let Me Show You Love' you can't help it--but increasingly it feels hollow... almost kitsch, and deep down you know that you, and the band, can really do better.
    • 67 Metascore
    • 60 Critic Score
    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.
    • 85 Metascore
    • 60 Critic Score
    Benji would have worked better as a series of EPs, playing to Kozelek's strength as a songwriter of certain stylistic preferences.
    • 70 Metascore
    • 60 Critic Score
    The Classic is a flawed piece of work, no doubt; overly cluttered and in sore need of reining in at times, it suffers for the hubris of its title. But when Wasser hits the sweet spot, as she does on 'Ask Me', 'Get Direct' and its ebullient centrepiece, she hits it with conviction.
    • 56 Metascore
    • 60 Critic Score
    If there's one problem with this pop/rap hybrid it is the skittish way she sometimes departs from the beat, losing her flow in EDM choruses or radio friendly R&B pop hooks. Iggy is strongest when she welds her words to a minimal yet delectable bass boom, spelling out her name with mischievous exaggeration.
    • 71 Metascore
    • 60 Critic Score
    This album, for all of its sharp musicianship and the ever-brilliant play-off between vocalists Greg Barnett and Tom May, just doesn't capture the gravity of its predecessor.
    • 61 Metascore
    • 60 Critic Score
    Meteorites is still, on initial blush, like all those other albums from Evergreen onward, "the new album from," a reliable entry but not a jawdropper.