The Quietus' Scores

  • Music
For 1,028 reviews, this publication has graded:
  • 59% higher than the average critic
  • 6% same as the average critic
  • 35% lower than the average critic
On average, this publication grades 1.5 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Led Zeppelin III [Remastered]
Lowest review score: 0 Lulu
Score distribution:
1,028 music reviews
    • 62 Metascore
    • 50 Critic Score
    No amount of street cred can make up for this mostly middling, only intermittently marvellous record.
    • 65 Metascore
    • 50 Critic Score
    One play is enough to confirm that defining moments refuse to peak through the murk.
    • 72 Metascore
    • 50 Critic Score
    The Flower Lane is far from a failed endeavour, but something special has been lost in the graduation from bedroom to studio.
    • 57 Metascore
    • 50 Critic Score
    Even without the cushy padding of Welcome to: Our House's clutch of Alex da Kid, AraabMuzik, and Hit-Boy beats, No Love Lost predictably sounds an awful lot like everything else on the radio.
    • 80 Metascore
    • 50 Critic Score
    It's a record that doesn't undermine their body of work, but nor does it stand out as a career-defining highlight.
    • 75 Metascore
    • 50 Critic Score
    Unfortunately, with an appropriately filmic, best-part's-in-the-trailer irony, it seems like Timberlake gave away too much by making 'Suit & Tie' the first glimpse of the record. From hereon in, it's a fairly dull affair.
    • 78 Metascore
    • 50 Critic Score
    Seabed never really gets out of first gear. The general vibe given off is that of a teenager moping about in his bedroom, albeit one with the skills to emote through slick, well-produced pop music.
    • 82 Metascore
    • 50 Critic Score
    Blake may have dispensed with some of the more experimental and emotionally obtuse trappings of his debut album on Overgrown in an attempt to engage more directly with a wider audience, but his intentions are all but drowned out by a thick glass porthole being hammered on feverishly by a dozen drowning onlookers.
    • 71 Metascore
    • 50 Critic Score
    Phoenix gets the motions nearly right on Bankrupt, but that crucial snap simply isn’t there.
    • 81 Metascore
    • 50 Critic Score
    Most of the album sounds like a kaleidoscope of every “indie” rock archetype, to the point that, whilst it's never debatable that Monomania is a Deerhunter record, you still find yourself thinking of Silversun Pickups, The Black Keys, The Flaming Lips or Arcade Fire, not necessarily with positive comparisons in mind.
    • 64 Metascore
    • 50 Critic Score
    The Big Dream is vaguely interesting, but not very interesting.
    • 73 Metascore
    • 50 Critic Score
    On the whole Body Music's tracks feel like little more than fairly unimaginative collage pieces: fifteen years of pop trends, compressed into one very indistinct style.
    • 59 Metascore
    • 50 Critic Score
    BE
    The fact that BE is patchy, and solid rather than surprising in its best spots, you have to put down to a failure of nerve or drive. It's not Different Gear, Still Shit, but it is nowhere near as exciting as it might have been.
    • 79 Metascore
    • 50 Critic Score
    There's a huge lack of definition, and even with the volume cranked high, the dynamic surge previous albums from the group have led us to expect is absent.
    • 70 Metascore
    • 50 Critic Score
    Belle And Sebastian fans have long ago learned to take the rough with the smooth and the quality control on The Third Eye Centre is all over the shop. The odd flashes of wonder within show they're still not a lost cause though.
    • 45 Metascore
    • 50 Critic Score
    EP1 was a mixed bag.
    • 51 Metascore
    • 50 Critic Score
    It feels like he's taking a step back; his covers album is livelier and more creative than this, perhaps because it didn't feel the need to live up to anything.
    • 71 Metascore
    • 50 Critic Score
    Whales And Leeches ultimately fails to capitalise upon or recapture the spirit of their previous releases.
    • 61 Metascore
    • 50 Critic Score
    There are moments where she reminds us that she can still do wonderful things, but for the most part, Artpop shows us an artist who is trying to do too much all at once.
    • 71 Metascore
    • 50 Critic Score
    There are some enjoyable tunes on here that might appeal to the curious who lost track of Pollard and GBV over the years. But the numerous less riveting, just-a-bit-too derivative, run of the mill rock songs will leave even newcomers with the feeling that they've heard it all before.
    • 74 Metascore
    • 50 Critic Score
    There are just too many occasions where Malkmus' tone bypasses droll, flies directly over kitsch, and lands way out in the rough with no hope of ever retrieving the ball.
    • 69 Metascore
    • 50 Critic Score
    Padding the album with ambient interstitials would be a forgivable peccadillo were the other songs seriously weighty--after all, even Kid A had 'Treefingers'--but the remaining seven tracks can themselves come off as a little half-baked.
    • 78 Metascore
    • 50 Critic Score
    Ultimately, nothing hangs together long enough to enable a consistent or enjoyable listening experience.
    • 73 Metascore
    • 50 Critic Score
    Like a vivid dream melting away in the first few minutes of morning, Love Letters has an uncanny beauty, but one that remains firmly out of reach.
    • 65 Metascore
    • 50 Critic Score
    Much of Glow is tasteful to the point of bland inoffensiveness, the sort of thing that'd suit a branch of All Bar One at half nine on a Friday night.
    • 71 Metascore
    • 50 Critic Score
    Sadly Arabia Mountain's residual nastiness and speed is pretty much gone, replaced by slow tempos and weird deviations. It's experiments with synths and disco beats that cause some of the record's truly worst moments.
    • 74 Metascore
    • 50 Critic Score
    In boxing up their inner fire, The Souljazz Orchestra have starved it of oxygen, so only the embers remain.
    • 68 Metascore
    • 50 Critic Score
    The album requires the exact right mood and setting and even then it fails to become much more than pleasant background music.
    • 76 Metascore
    • 50 Critic Score
    Everyday Robots signals a sea change in Albarn's oeuvre because it is, ostensibly at least, a work that tackles its creator's origins with something close to sincerity. I say close to, because there are plenty of moments here when the familiar orientalism returns to produce slightly nauseating results.
    • 69 Metascore
    • 50 Critic Score
    It is not boring. It is not that good. It is simply meh. The epitomeh of meh.