The Quietus' Scores

  • Music
For 802 reviews, this publication has graded:
  • 58% higher than the average critic
  • 5% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 Led Zeppelin I [Remastered]
Lowest review score: 0 Lulu
Score distribution:
  1. Negative: 16 out of 802
802 music reviews
    • 76 Metascore
    • 80 Critic Score
    The Men may not be here to change rock history but at the very least they deserve serious recognition for the fact that they keep doing exactly what they want, and that it continues to be as honest and as shamelessly exhilarating as the best rock music always should be.
    • 84 Metascore
    • 80 Critic Score
    Far more than a collection of club tracks, it's an elegant, fully realised narrative.
    • 79 Metascore
    • 80 Critic Score
    These are sad songs, sure; desperately sad, sometimes. But while the connections they depict may be long-severed, that they once existed at all is enough to grace this assured, affecting collection some hope, and an unlikely warmth that seeps in around its blunt, hard edges.
    • 67 Metascore
    • 80 Critic Score
    So in short Welcome to Mikrosector 50 is rather excellent, with the only real dud on the album being the slightly tedious 70s porno-funk of 'Quadraskank Interlude'.
    • 82 Metascore
    • 80 Critic Score
    John Grant's songs can be characterised by extreme restlessness and the state of suffering mental and physical discomfort within one's being. The irony and often confronting honesty he brings to these problems ensure Pale Green Ghosts is extremely engaging and often engrossing. But Queen of Denmark it is not.
    • 80 Metascore
    • 80 Critic Score
    If Mason’s last album Boys Outside was a window on his struggles with mental ill-health, Monkey Minds moves from micro to macro as he harnesses his strong sense of social justice, while continuing to hone the crisp electronics that so perfectly soundtrack his ghostly, exhortatory vocals.
    • 80 Metascore
    • 80 Critic Score
    They've arrived at a romantic, odd, ambitious pop record that eschews musical theatricality for punchy, 40-something's take on the complexity of love from the view--and this is why it works--of one who is still, at heart, an incurable and incorrigible teenage romantic
    • 72 Metascore
    • 80 Critic Score
    Soaring and swooping in all the right places, there's no denying the gorgeous ethereal shimmer and dizzying demonstrative pull of these songs.
    • 75 Metascore
    • 80 Critic Score
    It remains quite literally sublime--i.e. it creates a stirring sense of awe and fear in the listener, by creating an abstract representation of a facet of nature that we are right to be humbled by and terrified of: giant oceanic waves.
    • 64 Metascore
    • 80 Critic Score
    The past, present and future collide in a sublime celebration of technology, history and humanity, in all its flawed and triumphant glory, filtered through one man's attempts to understand and explain his small but significant place in the interconnected, universal whole.
    • 65 Metascore
    • 80 Critic Score
    Retro styling contextualises Love and Devotion and, crucially, the album's story is delivered with an emotional heft that many current producers aspiring to hypermodernity would do well to note.
    • 85 Metascore
    • 80 Critic Score
    This is all instrumental, and as in Billy Idol's haunting 'Eyes Without A Face' these are songs that say so much without ever saying a thing, piercing windows into the soul.
    • 78 Metascore
    • 80 Critic Score
    Despite the songs' far-off beginnings, Change Becomes Us is like an aggressive, steroid-pumped continuation of the band's excellent 2011 album Red Barked Tree, a testament to the band's consistent faithfulness to the key signatures of ice-sheet psychedelia and jackhammer punk.
    • 77 Metascore
    • 80 Critic Score
    Some of Collins' finest work can be found here.
    • 77 Metascore
    • 80 Critic Score
    Crime & The City Solution's sixth studio album is as much an elegy to the American Dream that's turned into a global nightmare as it is a damn fine rock & roll album.
    • 84 Metascore
    • 80 Critic Score
    Nobody could question the fact that these guys mean it with every fibre of their being, and Meir is music to make Norway proud; a new majestic fanfare to welcome hog-riding warriors into Valhalla.
    • 70 Metascore
    • 80 Critic Score
    Each track, although dressed in punk scuzz, is whip-smart and perfectly framed
    • 71 Metascore
    • 80 Critic Score
    A mature record, in the best possible sense, Machineries of Joy reins in the whimsicality and tendency towards wackiness, while still retaining a smart sense of humour alongside the philosophical pondering and strident rock shapes.
    • 76 Metascore
    • 80 Critic Score
    Until In Excess, Imperceptible UFO has lofty ambitions of space on one hand, and a great deal of heart and soul to keep it simultaneously grounded on the other.
    • 85 Metascore
    • 80 Critic Score
    The resulting album, unsurprisingly enough, contains their most texturally diverse work to date.
    • 76 Metascore
    • 80 Critic Score
    Ghost On Ghost might not be definitive--Beam gives off the impression that a genuine modern classic is not yet beyond him, something a tightening of focus might help him achieve--but this is big, beautiful music all the same. That he makes it sound so effortless is all the more impressive.
    • 80 Metascore
    • 80 Critic Score
    All shot through with the psychedelic heft of Neil Young & Crazy Horse, this is not a flash in the pan, a fumble in the dark or an album which loses its way but a cosmic paean to perfectionism that creates order out of the most beautiful chaos.
    • 85 Metascore
    • 80 Critic Score
    You Are Eternity is not po-faced, despite its thematic and sonic weight, it's concise and does the job with a glint.
    • 68 Metascore
    • 80 Critic Score
    Exemplifying the work of Joe Boyd (and of Gabrielle Drake, who has been rigorously loyal to her brother's legacy) it's a fascinating and charming example of creative curatorship.
    • 75 Metascore
    • 80 Critic Score
    Gonzalez's intricate, mellifluous guitar playing is not front and center, but committed followers of this side of his artistry will certainly be satisfied.
    • 82 Metascore
    • 80 Critic Score
    Silence Yourself is the manifestation of a formidable spirit, a sense that everything they do is done with great purity of intent, and a brilliant sex, life and death album of a kind rarely seen these days.
    • 79 Metascore
    • 80 Critic Score
    Sequentially, Some Say I makes its six-of-11 central meditation on separation perfectly telegraphed.
    • 84 Metascore
    • 80 Critic Score
    Modern Vampires quite often touches brilliance, and does so without audibly straining for 'maturity' or pushing hard to be some po-faced Great American Album.
    • 72 Metascore
    • 80 Critic Score
    Throughout Fain--the band's second album--folk melodies meet visceral fuzz-rock, never sounding quite like anyone else specifically, but a unique blend that never coalesced at the time.
    • 70 Metascore
    • 80 Critic Score
    With a discipline perhaps learnt from his extensive soundtrack work, Harvey has trimmed away the fat, so that every rhythmic or melodic touch serves a purpose.