The Quietus' Scores

  • Music
For 1,025 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 Nightclubbing [Deluxe Edition]
Lowest review score: 0 Lulu
Score distribution:
1,025 music reviews
    • 59 Metascore
    • 50 Critic Score
    It's not all bad, and sometimes the reverse is true, with the strings the best thing about the track; the opening figure from 'A+E' is very pretty and the violin rising up in 'Cologne' is melodious and elegant, but they both give way to more of the electro-flotsam.
    • 72 Metascore
    • 50 Critic Score
    This panoply of styles is both the most impressive and the most frustrating thing about Noise, the result being that only at select moments do they approach the majesty, the fists-pounding-the-ground righteousness that many have come to associate them with.
    • 65 Metascore
    • 50 Critic Score
    After such an imposing start, the rest of My Love Is A Bulldozer was bound to struggle to keep the standards up, but even with this in mind, it's a confusing and muddled album.
    • 72 Metascore
    • 50 Critic Score
    If Par Avion wasn't so clearly aiming for the cheap seats with its ideas, it would be easier to forgive its flaws and just appreciate how great these synthesisers sound, how stunningly they're utilised.
    • 76 Metascore
    • 50 Critic Score
    All too often the album lacks the requisite light and shade to make for a consistently enjoyable listen.
    • 67 Metascore
    • 50 Critic Score
    It is largely an album that, despite finding acmes in doing what Rustie does best, has more troughs than peaks, and lacks the impish, distinctive touches that made Glass Swords such a striking listen.
    • 65 Metascore
    • 50 Critic Score
    Crush Songs certainly has the consistency of intention to draw in new listeners, but for those who love the pace and grittiness of Yeah Yeah Yeahs, the end result might leave them crushing hard for the band's next record and the indefatigable side of Karen O.
    • 53 Metascore
    • 50 Critic Score
    Even the most hardcore of Yes fans may forget that this exists in a couple months.
    • 58 Metascore
    • 50 Critic Score
    Ultimately, The Endless River is another Floyd album about the inability to communicate--it doesn't "say anything" or "go anywhere", but maybe that's the point. While it's unlikely to win the band many new admirers, the casual Floyd fan will find much to enjoy here.
    • 76 Metascore
    • 50 Critic Score
    Unfortunately, Girls In Peacetime Want To Dance is the net effect of an effort that goes nowhere at all; and this deviation appears furtive, as if they're trying to hide their beloved quirks from an expanded audience.
    • 73 Metascore
    • 50 Critic Score
    In 2013, a Pearson Sound album would have been a great event and certainly a major step in a career already full of them, but waiting two years effectively sapped the urgency.
    • 63 Metascore
    • 50 Critic Score
    The demand for our awe at an accomplished--yet unfinished--triumph is confusing. The feeling each song inspires is indeed that of a religious service, one in which the endless standing up and sitting down leaves one a little exasperated. And fatigued.
    • 87 Metascore
    • 50 Critic Score
    In Colour is ultimately too tidy and, Young Thug features aside, afraid to take risks, and is therefore all the more beige for it.
    • 80 Metascore
    • 50 Critic Score
    As part of Berlin's Janus Collective, M.E.S.H.'s work is very much on the hardest edges of club culture to such an extent that it becomes hard to discern any humanity at work here.
    • 82 Metascore
    • 50 Critic Score
    As Compton progresses, it rarely seems to shift out of second gear, evidently favouring laid back grooves and sparse production over aggressive break beats and G-Funk swagger. All the while an almost listless lyrical style on occasion provides a narrative, or lack thereof.... Cynicism aside, there are moments of brilliance here.
    • 68 Metascore
    • 40 Critic Score
    The combination of Eno's obsession with stasis and his attachment to novelty for its own sake does the album in.
    • 47 Metascore
    • 40 Critic Score
    This is a piece of work in which good-quality ingredients have been handled without a great deal of tact.
    • 65 Metascore
    • 40 Critic Score
    It's all too hammy, too rich to absorb.
    • 77 Metascore
    • 40 Critic Score
    The net result is a lack of texture and the element of surprise that made this album's predecessor so wonderfully seductive.
    • 52 Metascore
    • 40 Critic Score
    A curious listen, Sounds From Nowheresville is akin to having your memory wiped at exactly the same moment an experience is stored in the brain.
    • 60 Metascore
    • 40 Critic Score
    Nicki Minaj's second album is pop postmodernity in an advanced state of hollow, banal meaningless, and the first causality is Minaj herself.
    • 61 Metascore
    • 40 Critic Score
    With occasional flashes of their previous excellence, Spine Hits has too many drab moments to make this anything other than their weakest work yet by far.
    • 70 Metascore
    • 40 Critic Score
    This isn't an album; it's a series of OCD thoughts thrown together in passing, the only sense of cohesion coming during a rare chance for bassist Chris Wolstenholme to take centre stage on vocals.
    • 79 Metascore
    • 40 Critic Score
    It's sad to report then, that Psychedelic Pill is nothing less than a crushing disappointment as it gives way to Young's most meandering and directionless tendencies.
    • 70 Metascore
    • 40 Critic Score
    It is gloss and fluff masquerading as euphoric heartbreak. It makes Savage Garden sound like Leonard Cohen.
    • 68 Metascore
    • 40 Critic Score
    Nothing on Comedown Machine really sounds natural either; it comes across awkward, hollow, like dead-chemistry trying listlessly to spark.
    • 63 Metascore
    • 40 Critic Score
    One of the first things that jumps out at the listener, and it's something which persists throughout, is the disconnectedness between Smith and Elena Poulou in the control room, arsing about with daft voices and keyboard squiggles respectively, and the big lads at the back.
    • 78 Metascore
    • 40 Critic Score
    Fans of the characteristic Kylesa stomp will find enough of it remaining in the cracks to keep them entertained, but the originality and kinetic force of their vision has become a splutter.
    • 81 Metascore
    • 40 Critic Score
    The only thing Settle succeeds at is repurposing generic late 90s funky house into a sound that people seem to have been brainwashed into thinking is new and exciting.
    • 60 Metascore
    • 40 Critic Score
    Magna Carta offers only a few vivid images but even fewer full songs. The album's relentless spewing of wealth will be enough to repel some listeners, but that's not exactly the problem here, it's that his brags are often unimaginative and humourless.