The Quietus' Scores

  • Music
For 990 reviews, this publication has graded:
  • 58% higher than the average critic
  • 6% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 1.4 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Gentlemen At 21 [Deluxe Edition]
Lowest review score: 0 Lulu
Score distribution:
  1. Negative: 17 out of 990
990 music reviews
    • 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.
    • 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.
    • 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.
    • 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.
    • 83 Metascore
    • 60 Critic Score
    Harmonicraft often strays into pastiche when they attempt to cling on to their past, but comes into its own when it strides confidently into new realms.
    • 83 Metascore
    • 60 Critic Score
    Grinderman 2 RMX provides an enjoyable enough distraction but ultimately this is a collection of material that would have worked better as an EP rather than an album.
    • 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.
    • 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.
    • 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.
    • 81 Metascore
    • 60 Critic Score
    Gainsborough seems to be testing not only what his crude instrumentation can withstand, but also his listeners. For all the physical exertion though, the album sounds surprisingly sexless and apathetic at times.
    • 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.
    • 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.
    • 80 Metascore
    • 60 Critic Score
    A crescendo of electronic drums and stirring strings draws Distant Satellites to a close, and leaves you with the impression that, while inconsistent and desperately overwrought on occasion, Anathema deserve to be heard out with the private members' club that is prog rock in 2014.
    • 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.
    • 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.
    • 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.
    • 79 Metascore
    • 60 Critic Score
    Wahile Girls have returned brimming with confidence and enthusiasm, this record seems to overstretch them.
    • 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.
    • 79 Metascore
    • 60 Critic Score
    This is yet another chillwave album. An album so typical of the genre that it even has the audacity to use the word "polaroid" in a lyric. What rescues it from mediocrity, however, is the flawlessly melodic melancholy of Edwards' voice.
    • 79 Metascore
    • 50 Critic Score
    Three good tracks [songs, "Motion Sickness," "Ends of the Earth," and "Flutes,"] do not an album make - and, unfortunately, this is the sum of the worthwhile moments on In Our Heads. Elsewhere the album is pure drudgery, remarkable only in its dullness.
    • 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.
    • 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.
    • 78 Metascore
    • 50 Critic Score
    Though their sound is undoubtedly unique, their music has become formulaic.
    • 78 Metascore
    • 50 Critic Score
    Ultimately, nothing hangs together long enough to enable a consistent or enjoyable listening experience.
    • 78 Metascore
    • 60 Critic Score
    When the album stops playing the temptation to categorize Family and Friends as a literate Streets project or Buck 65 with a flair for topic sentences is irresistible. Only one song exceeds the five-minute mark, though, and most are just over two minutes, so boredom isn't a problem.
    • 78 Metascore
    • 50 Critic Score
    Guzo is a strange album--it feels like the record label (or management) are calling too many shots, unable to decide whether Yirga should play the Ethio-jazz which we've come accustomed to through the Ethiopiques series, the cool Western jazz of Oscar Peterson and Bill Evans, or a fusion in-between that also includes soul and Caribbean flavours.
    • 78 Metascore
    • 60 Critic Score
    Bloom is in part brilliant but maddeningly safe and, ultimately, is a decidedly unsatisfying listen.
    • 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.
    • 77 Metascore
    • 40 Critic Score
    There are plenty of nicely recorded aural treats dotted across 6 Feet Beneath The Moon, but they're swimming in a sea of dull mediocrity.
    • 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.