Sound-Dust - Stereolab
User Score
9.8 out of 10

Universal acclaim- based on 13 Ratings

User score distribution:
  1. Positive: 13 out of 13
  2. Mixed: 0 out of 13
  3. Negative: 0 out of 13

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  1. SvenErikO
    Jan 3, 2003
    10
    In lieu of Mary's recent tragic death, Sound-Dust must be recognized as the greatest achievement of this lineup and as the most superbly crafted and enveloping of the groop's LPs.
    • 0 of 0 users said yes
  2. AdamP.
    Sep 21, 2001
    9
    wo-wo!
    • 0 of 0 users said yes
  3. JonathanG
    Feb 20, 2006
    10
    By far Stereolab's most interesting and emotional work. Amazing structural development, with interesting polyrhythms. The brilliance of this is hidden just below the surface. Don't listen to the lazy critics who overlook this album.
    • 0 of 0 users said yes
  4. MattV
    Mar 13, 2004
    10
    my favourite album of all time...absolutely beautiful...
    • 0 of 0 users said yes
  5. LeonardoF
    Oct 25, 2005
    10
    we'll miss you, mary.
    • 0 of 0 users said yes
  6. DaveB.
    Dec 13, 2001
    9
    c'est tout bon!
    • 0 of 0 users said yes
  7. RyanC.
    Aug 26, 2001
    10
    Why would you rate this lower than a 10?
    • 0 of 0 users said yes
  8. Coob
    Dec 12, 2002
    9
    Can you believe Stereolab singer Mary Hansen in dead? I still can't believe it. They are such an innovative band and it is such a tragic loss. Anyhow, Sound-Dust is amazing. Check it out!
    • 0 of 0 users said yes
  9. GarvinG
    Sep 16, 2003
    10
    Stereolab once again produces an incredible original sound that allows for the mind to soar.
    • 0 of 0 users said yes
Metascore

Generally favorable reviews - based on 23 Critics

Critic score distribution:
  1. Positive: 17 out of 23
  2. Negative: 1 out of 23
  1. A disappointment compared with their action-packed output of the late '90s. [Fall 2001, p.136]
  2. 80
    An optimistic-feeling, playful record that recalls the jazzy-edged sunshine and beat pop of the '60s.
  3. A major rebirth, relegating the chirpy melodies to expedients, relying less on Sadier's monotone singing, and reaching for new formats within the group's formidable compositional skills.