Based on 16 reviews from outlets we track. Scores run 60 to 85.
By the numbers: Queens of the Stone Age's best-reviewed album here since …Like Clockwork (2013).
| The gist | ||||
|---|---|---|---|---|
| The A.V. Club via Wikipedia | B | 85 | 2017 | |
| Consequence | B | 85 | “Josh Homme and Co. cross over into dance music by being a more uptempo version of themselves.” | |
| Q via Wikipedia | 4/5 | 80 | ||
| Rolling Stone via Wikipedia | 4/5 | 80 | 2017 | |
| The Independent via Wikipedia | 4/5 | 80 | 2017 | |
| Mojo via Wikipedia | 4/5 | 80 | ||
| NME via Wikipedia | 4/5 | 80 | 2017 | |
| The Guardian via Wikipedia | 4/5 | 80 | 2017 | |
| AllMusic via Wikipedia | 4/5 | 80 | ||
| musicOMH | 4/5 | 80 | “From spacey disco rock to fragile ballads, Queens Of The Stone Age's Mark Ronson-produced Villains is a powerful yet thoughtful album covering a spectrum” | |
| Clash | 8/10 | 80 | “Four years after the storming return to form that was ‘…Like Clockwork’, Josh Homme and his motley crew are back again, with an arsenal” | |
| Uncut | 8/10 | 80 | “Josh Homme and Mark Ronson make dance rock theatre” | |
| PopMatters | 7/10 | 70 | “Queens of the Stone Age are back with more riffs, more swagger, and a little bit of swing. This time around frontman Josh Homme and guitarist Dean Fertita are” | |
| Slant | 3.5/5 | 70 | “The album’s pseudo-danceable moments add welcome wrinkles to a formula that’s otherwise begun to feel leaden.” | |
| Pitchfork | 6.9/10 | 69 | “With production flourishes from Mark Ronson, Josh Homme leads the band's most accessible album in decades. It’s equal parts disco inferno and devil-may-care experimentation.” | |
| Spill Magazine | 6.0/10 | 60 | 2017 | “Queens Of The Stone Age Villains Matador Records Queens of the Stone Age fans rejoice; the boys are back in tow! It has been nearly a four year musical drought…” |
More from Queens of the Stone Age
More Indie & Alternative from around 2017
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, a B+ is 88) and averaged. Grades follow the B-Side scale: A is 90–100, B 80–89, C 70–79, D 60–69, F below 60. Approval is the share of critics who scored it 75 or higher; the Breakdown shows green at 75 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 85 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.










Leave a Reply