Early reviews. Critics give The Deconstruction an early B-Side Breakdown of 55 (Mixed Bag), from 5 reviews so far. It will settle as more outlets weigh in.
The verdict on The Deconstruction
Most critics weren't won over: 1 of 5 liked it.
- Highest 70 Drowned in Sound
- Outlier 30 Pitchfork, 25 points below the next-lowest score
- By the numbers The lowest score of Eels's 13 albums with a Breakdown.
| The gist | ||||
|---|---|---|---|---|
| Drowned in Sound via Wikipediaby Jamie Otsa | 7/10 | 70 | 2018 | “A confusing jumble of highs and lows” |
| The Arts Desk via Wikipediaby Javi Fedrick | 3/5 | 60 | 2018 | “The Deconstruction is the 12th album from Californian rockers Eels, written and co-produced as always by perennial frontman Mark Oliver Everett (“E”). With 2014’s The Cautionary Tales of Mark Oliver…” |
| Exclaim! via Wikipediaby Ian Gormely | 6/10 | 60 | 2018 | |
| Under the Radar via Wikipedia | 5.5/10 | 55 | 2018 | “Since Beautiful Freak debuted in 1996, Mark Oliver Everett (aka Eels, aka E) has been crafting quirkily moody pop songs enabling him to hone Eels' eclectic sound into a unique…” |
| Pitchfork via Wikipediaby Ian Cohen | 3.0/10 | 30 | 2018 | “On Eels’ 12th album, Mark Everett trots out his reflexive self-loathing and elementary rhyme schemes one more time, with no clear reason why.” |
Every Sunday: the week's new albums, scored by the critics. Plus our own reviews when we post them. Free, and one click to leave.
The Deconstruction in Eels's catalog
How these critics usually treat Eels
- Pitchfork About usual for them31 points below the other critics here. Usually 27 points below on Eels's other albums (6).
More from Eels
← Earlier The Cautionary Tales of Mark Oliver Everett (2014)Later → Extreme Witchcraft (2022)
More Indie & Alternative from around 2018
Would you spin it again?
Be the first to answer. Results show once 3 listeners weigh in.
How the Breakdown works
Every outlet’s score is converted to 0–100 (2/5 is 40, 5.9/10 is 59) and averaged. A letter grade counts as the star rating it matches across thousands of reviews of the same albums, so a B+ is 75, like four stars, and a B is 65. Verdicts: Heavy Rotation is 85 and up, Keeper 70–84, Mixed Bag 55–69, Back of the Crate below 55. Approval is the share of critics who scored it 70 or higher (7/10, three and a half stars); the Breakdown shows green at 70 and up, red below. Divisiveness asks a different question: not how many critics liked it, but how close their scores are to each other. Five critics who all give it 50 are Unanimous, even though none of them liked it. The labels run Unanimous, Broad agreement, Some debate, Divided, and Contentious. Replay rate comes from listeners, not critics: yes counts fully, a few tracks counts half, no counts zero. The gist quotes each outlet’s own summary of its review. Published is the date on the review itself, read from the outlet’s page, so you can see whether an album’s reputation came at release or years later. Scores marked est. come from reviews that publish no number. Scores marked via Wikipedia are archive ratings, mostly for older albums, taken from the “Professional ratings” box on the album’s Wikipedia page (published openly through Wikidata); each links to the original review when we can find it online, and to that Wikipedia entry when we can’t. When an outlet reviewed an album twice, years apart (often for a reissue), both scores count, each labeled with its year.
A-Side marks the critics’ top tier. An album earns it automatically, from its numbers alone: a Breakdown of 90 or higher, from at least 5 reviews, with at least 75% approval. Nobody hands it out and nobody can buy it; if new reviews pull an album below the line, it loses the badge.










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