Dusted Magazine's Scores

  • Music
For 2,124 reviews, this publication has graded:
  • 49% higher than the average critic
  • 4% same as the average critic
  • 47% lower than the average critic
On average, this publication grades 1.4 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 Master And Everyone
Lowest review score: 0 Rain In England
Score distribution:
2,124 music reviews
    • 77 Metascore
    • 100 Critic Score
    Bottle of Humans was an amazing album, immediately hailed as a classic. Selling Live Water improves upon that album in every identifiable category.
    • 84 Metascore
    • 100 Critic Score
    An instant classic. Few records contemplate such grandeur and fewer still achieve it.
    • 81 Metascore
    • 100 Critic Score
    Wonderful Rainbow is a brilliant record and has upped the ante tremendously for Lightning Bolt. They managed to take every single aspect that made Ride the Skies such a great record and intensify it severely, all the while showcasing incredibly tight and complex musicianship – knowing when to hold in the reins and when to set them on fire.
    • 77 Metascore
    • 100 Critic Score
    Summer Sun is a stunner, a subtle but substantial collection of non-sequiturs that displays the scope of Yo La Tengo’s tweaked-out serenity.
    • 83 Metascore
    • 100 Critic Score
    It is perhaps Oldham’s best work yet, and somewhat ironically, his most accessible as well.
    • 89 Metascore
    • 100 Critic Score
    With Neon Golden, the Notwist have created a daring album full of different sounds and textures. While this might sound like a textbook post-rock album, it is without a doubt a record firmly anchored by its pop sensibilities.
    • 85 Metascore
    • 100 Critic Score
    Occasionally, it feels like there’s a manipulation going on somewhere, a cloud of hype that obscures both the band’s actual virtues and its shortcomings.
    • 84 Metascore
    • 100 Critic Score
    Beulah have somehow blended the sounds their last three albums, each a significant achievement on its own, into one career-spanning epic, completely worthy of their reputation; any small ways in which their past work has seemed lacking, superficial, or scatterbrained is gone, and only the best points remain.
    • 88 Metascore
    • 100 Critic Score
    On Chutes, Mercer’s voice is singing right next to you, and the change works wonders.
    • 93 Metascore
    • 100 Critic Score
    While every Ivy League dog kennel worker with a paycheck from Blender or Revolver may write dissertations about how Outkast re-invented pop music (and if we follow that logic) then Madvillain simply destroys the boundaries.
    • 97 Metascore
    • 100 Critic Score
    Against all expectations, Brian Wilson has achieved what should have been impossible, and has produced what may be the year's most thrilling album.
    • 83 Metascore
    • 100 Critic Score
    School of the Flower easily ranks as Ben Chasny's best work thus far.
    • 84 Metascore
    • 100 Critic Score
    A silky, bright, singing-in-the-shower masterstroke of joy and elation.
    • 93 Metascore
    • 100 Critic Score
    One of the most important anthologies to come along in quite a while.
    • 85 Metascore
    • 100 Critic Score
    Ys
    Ys is one of those rare sophomore albums that shatters exceedingly high expectations.
    • 79 Metascore
    • 90 Critic Score
    For the first time in his career he has made an album that is clearly not a product of “Beck”, the single-syllabled entertainer, but rather that of “Beck Hansen”, the person.
    • 80 Metascore
    • 90 Critic Score
    It wildly exceeds the expectations generated by Malkmus’s first solo shot.
    • 88 Metascore
    • 90 Critic Score
    So when I say that Yours, Mine & Ours sounds too good to be true, I'm resolved after much deliberation that this is an entirely positive thing: it is impeccably conceived, executed, and produced.
    • 89 Metascore
    • 90 Critic Score
    Last Exit is a truly excellent album, one of the best of 2004 so far. But what is truly exciting is the promise Last Exit holds for the future – for that of the Junior Boys themselves and the countless others it is sure to inspire.
    • 87 Metascore
    • 90 Critic Score
    [A] seemingly out-of-nowhere collection of quiet masterpieces.
    • 89 Metascore
    • 90 Critic Score
    Now, rather than trying to replay his roots and influences, he’s incorporating them as threads in the in the tapestry of his own rich, distinctly beautiful sound.
    • 79 Metascore
    • 90 Critic Score
    The interplay of Gibbard's shyly introspective vocals with Tamborello's dense and meticulous backdrops works surprisingly well, at times better than anything to date from Death Cab or DNTEL.
    • 84 Metascore
    • 90 Critic Score
    5
    5 is Town and Country's most beautiful, flawless actualization of the goals they’ve been working towards since 1998, and paradoxically, a near-complete rethinking of them, as well.
    • 82 Metascore
    • 90 Critic Score
    Blacklisted rings with lost voices and strange journeys, and does a better job of balancing hope, innocence, and darkness than just about anything I’ve heard in a while.
    • 78 Metascore
    • 90 Critic Score
    It’s an old trick: happy music, sad words. But Quasi has elevated the strategy to an art form, and it’s nearly impossible to resist the sugar rush of the band’s sound in collision with Coomes’ black musings.
    • 75 Metascore
    • 90 Critic Score
    A lot of what's contained on this disc reaches for the transcendent and often attains that lofty goal. Even when it doesn't, though, it's still very much worth the listen.
    • 77 Metascore
    • 90 Critic Score
    An intense fifty minute ride through the minds of one of the best new bands to emerge in recent memory.
    • 80 Metascore
    • 90 Critic Score
    While most of Slow Riot and at least parts of Skinny Fists shine through from a distance, much of what makes this album great is its painstaking detail.
    • 86 Metascore
    • 90 Critic Score
    Sometimes it seems almost sleight-of-hand that any music could have so much going on and yet be so spacious.
    • 78 Metascore
    • 90 Critic Score
    The building of momentum from beautiful or ominous minimalism into cathartic, sweeping heaviness is remarkable.
    • 72 Metascore
    • 90 Critic Score
    To Rococo Rot's Hotel Morgen is seductive and suggestively sculpted; romance music for people with unforced, natural, and charmingly contrary style.
    • 86 Metascore
    • 90 Critic Score
    This record is a wonderful accomplishment – instead of relying on tricks and methods explored on earlier records, Herren expands via reflection, tracing sounds back to their roots in hopes of finding a new path.
    • 83 Metascore
    • 90 Critic Score
    It may be an unexpectedly traditional and conservative album, but it’s also an unexpectedly beautiful one.
    • 88 Metascore
    • 90 Critic Score
    Granted, there will be some that cling to the lo-fi eccentricities of that debut, but while Oh Me Oh My... may have won him heaps of critical praise, Rejoicing in the Hands is the album that backs it all up.
    • 78 Metascore
    • 90 Critic Score
    The 'Line now possess a maturity in their songwriting that most indie-rock stalwarts can only dream of.
    • 78 Metascore
    • 90 Critic Score
    This is what makes Earthquake Glue such a startling arrival. You don’t simply listen to it out of obligation, but instead because you are compelled to return to it, again and again.
    • 80 Metascore
    • 90 Critic Score
    Loud, large and unrelenting, Hate is stunning, orchestral pop.
    • 79 Metascore
    • 90 Critic Score
    A stunning collection of unpredictability that has to stand among the best pop albums of 2003.
    • 84 Metascore
    • 90 Critic Score
    What’s surprising about ONoffON is how different it sounds from those previous two records, and yet how well it follows their lead.
    • 79 Metascore
    • 90 Critic Score
    Out of the Shadow's blissful indie-pop tunes are as affecting as they are catchy.
    • 77 Metascore
    • 90 Critic Score
    The Unicorns manage to polish an array of pawn shop instruments into miniature masterpieces.
    • 88 Metascore
    • 90 Critic Score
    The Bad Seeds have not made a record this ambitious, well, ever, and the results are rewarding, thoughtful and challenging.
    • 84 Metascore
    • 90 Critic Score
    There probably won't be many albums in 2003 that will combine images, sounds and deepfelt emotions as well as The Violet Hour.
    • 73 Metascore
    • 90 Critic Score
    God Bless Your Black Heart is one of the best noise rock records in recent memory – and not in the sense that it’s bafflingly original, but in that the Paper Chase are amazingly good at what they do.
    • 87 Metascore
    • 90 Critic Score
    It’s an arresting record that doesn’t pull strings or elide with gimmicks, nor does it preach or try to persuade. You needn’t believe in a higher order to realize that Seven Swans is an expression of something stirring, something beautiful.
    • 76 Metascore
    • 90 Critic Score
    It seems that every element previously employed by the Microphones is recycled here in masterpiece capacity.
    • 85 Metascore
    • 90 Critic Score
    One Beat joins the likes of Fugazi's In On the Killtaker and Bikini Kill's Reject All American for its impassioned new-world resistance, and could very well be the greatest triumph of punk independence since Black Flag.
    • 78 Metascore
    • 90 Critic Score
    Psapp's music is so beautifully complex that upon first listen it might seem a bit haphazard or amateurish -- with all its bells, whistles, whizzes and whirrs -- but after repeated listens, the oddities take on a precise purpose and fit perfectly within the melodic structure.
    • 80 Metascore
    • 90 Critic Score
    Superwolf contains some of [Oldham's] most startling work yet.
    • 80 Metascore
    • 90 Critic Score
    Don’t be put off by the glossy patina; there’s a lot to hear on this record, as repeated listening makes plain.
    • 79 Metascore
    • 90 Critic Score
    Back-to-back tracks recorded years apart seem inseparable, and some of the recordings here are the strongest the band – or anyone else – has ever put to tape.
    • 72 Metascore
    • 90 Critic Score
    A gorgeously euphonic skull-crusher.
    • 80 Metascore
    • 90 Critic Score
    Occasionally masterful, frequently evocative, and consistently lovely.
    • 77 Metascore
    • 90 Critic Score
    It’s particularly satisfying to hear confident music like this, played with the fiery purpose of those who pioneered it over the last two decades.
    • 88 Metascore
    • 90 Critic Score
    A musical tour-de-force, and probably Sleater-Kinney’s best album to date.... If it lacks the immediate appeal and accessibility of One Beat or All Hands on the Bad One, it feels more mature and meaningful than either.
    • 78 Metascore
    • 90 Critic Score
    Malkmus has the same fractured pop sensibility, but his music is more expansive than it’s been before.
    • 90 Metascore
    • 90 Critic Score
    Someday the Smithsonian will file this sprawling musical celebration into their collection between Van Dyke Parks’ Discover America and Norman Rockwell’s Saturday Evening Post covers -- joyous, generous Americana filtered through a singular sensibility.
    • 76 Metascore
    • 90 Critic Score
    It's so satisfying when a band is able to subtly re-invent its sound, as Keenan and Cargill have done here so well.
    • 81 Metascore
    • 90 Critic Score
    Fortunately, the huge elemental diversity on G&G is more spread out than on previous efforts, leaving breathing room and allowing each well-crafted sound to sink in.
    • 79 Metascore
    • 90 Critic Score
    With a solid emotional through-line and a few sonic surprises, Cinder is a musical novella, whose narrative compels you to its last luxurious line.
    • 76 Metascore
    • 90 Critic Score
    Elephant Eyelash is fantastic, an indie rock record that nicely balances absurdity and directness, pop hooks with stoned weirdness.
    • 88 Metascore
    • 90 Critic Score
    Essentially, the Brians don't really need to innovate that much anymore and instead are just fine-tuning their craft in glorious ways.
    • 89 Metascore
    • 90 Critic Score
    Five years on, We Are Monster finds Raijko Muller so confident and articulate that Rest comes off in comparison like a set of hastily scrawled clutch notes.
    • 84 Metascore
    • 90 Critic Score
    A schizophrenic palate of honeyed soul, downbeat electrix, timeless hip hop and bare-knuckle beats, these 31 tracks (spread over 44 minutes) are packed with triple the hooks – and suffer from attention deficit disorder (to the listener’s benefit).
    • 88 Metascore
    • 90 Critic Score
    It's tempting to spend hours excavating metaphors and translating references on a record this complex and interesting, but Destroyer's Rubies also works well as pop.
    • 87 Metascore
    • 90 Critic Score
    Almost classically psychedelic at times, with the overdriven saturation of too much light, motion and volume applied to every aspect of the music, this ensemble... represents the best of gritty, pre-funk groove music, Day-Glo popcorn cooking in gasoline, rattling like a machine gun.
    • 88 Metascore
    • 90 Critic Score
    I'd be surprised if anybody, in any field, drops something this potent in the next nine months.
    • 78 Metascore
    • 90 Critic Score
    For the most part, Cannibal Sea differs little from The Long Goodbye: the elements that made that album successful – tight songwriting, precise arrangements and elegant performances – are once again employed with aplomb.
    • 76 Metascore
    • 90 Critic Score
    Filled with an ineffable spiritual longing and a fractured sense of alienation, the album packs an emotional punch and a dark intelligence that sneaks up on you after repeated listens.
    • 73 Metascore
    • 90 Critic Score
    A magical collection of songs where the lyrics, instruments and voice somehow blend perfectly, matching each other moment to moment to tell the same story, set the same mood.
    • 85 Metascore
    • 90 Critic Score
    No easy listening feat by any stretch of the imagination, Scott Walker's The Drift will provide critics and general music fans with talking points for the next 10 years. It is, simply, a work of staggering emotional sentiment and complexity that few will be able to match.
    • 81 Metascore
    • 90 Critic Score
    Last time, the surprise was that after 20 years of hiatus, the band was just as good as ever. This time, they're even better, more cohesive and confident, louder and funnier, still learning from life and each other, and using that experience to create ever more compelling music.
    • 80 Metascore
    • 90 Critic Score
    Beirut’s brilliant debut album is full of grandeur and intimacy, with accordions, ukuleles and brass instruments complementing contemporary notions like drum machines and digestible song structures while simultaneously channeling the ancient appeal of Balkan folk music.
    • 81 Metascore
    • 90 Critic Score
    Their most accomplished and astounding album to date.
    • 83 Metascore
    • 90 Critic Score
    Game Theory turns out to be The Roots’ finest record to date.
    • 85 Metascore
    • 90 Critic Score
    Even more than their last record, the fine A New White, For Hero: For Fool is a wonderfully sprawling mess.
    • 87 Metascore
    • 90 Critic Score
    Neon Bible is so successful because it showcases big ambition without ignoring the small things.
    • 86 Metascore
    • 90 Critic Score
    Make no mistake – the beats are still rigid, dabbling in taut funk and squelching electro as much as snotty punk moves and glorious polyrhtyhms. These nine songs, however, ring with a clarity of purpose and a true intent that was previously altogether lacking, presenting a far more cohesive image of Murphy and his many strengths.
    • 87 Metascore
    • 90 Critic Score
    In a year that will feature not just a new long-player from Lennox's Animal Collective but also a box set's worth of rare material, it may be hard to surpass the haunting, blissful pageantry of Person Pitch.
    • 70 Metascore
    • 90 Critic Score
    Ultimately, Cornelius has shown that he stands alone when it comes to future pop, and the results are an exceptional pleasure to hear.
    • 90 Metascore
    • 90 Critic Score
    From Here We Go Sublime is fantastic all around, and it’s all the more effective for its restraint.
    • 78 Metascore
    • 90 Critic Score
    The result is one of the most formally radical indie records in recent memory. It also happens to be Dirty Projectors’ all-around best, not least because it most closely recreates the kinetic force of their live performances.
    • 87 Metascore
    • 90 Critic Score
    He sacrifices none of his newfound momentum on the fantastic Dig, Lazarus, Dig!!!, his sharpest, wittiest, most resolute album in over a decade.
    • 82 Metascore
    • 90 Critic Score
    There’s no question that Where You Go I Go Too is one of the year’s most coherent, craftily executed albums.
    • 90 Metascore
    • 90 Critic Score
    Considering the host of absolutely killer tracks, London Zoo might just be Kevin Martin's finest album, which is astounding considering the man has been making music for two decades.
    • 83 Metascore
    • 90 Critic Score
    The applause will only grow louder with the release of The Bright Mississippi. It’s quite simply one of the best albums we’ll hear in 2009.
    • 73 Metascore
    • 90 Critic Score
    This is, undoubtedly, one of the most beautiful records of this year, and its very indistinctness forces you to go back to it over and over.
    • 85 Metascore
    • 90 Critic Score
    Try to label what Newsom does in a sentence or two, and you just tie yourself in knots. Have One On Me will do little to change all that, and so the only clear point of reference is her own previous work. Beyond that, though, it’s enough to say that it’s her, and if you loved "Ys" as much as this writer did, you’re probably going to love Have One On Me also.
    • 89 Metascore
    • 90 Critic Score
    To put it simply, Ali and Toumani is a quiet, intimate, timeless record; a transcendent expression of cultural pride, deep friendship, and above all, breath-taking musical colloquy.
    • 88 Metascore
    • 90 Critic Score
    Their pithy discography--a kind of ur-record of indie-pop, ripped off knowingly and unknowingly--is part of their magic.
    • 90 Metascore
    • 90 Critic Score
    Big Boi isn't an MC; he's a songwriter. That distinction is what separates him from other rappers, and it's what makes Sir Lucious--an album whose elan is instantaneously felt and whose spirit only becomes more invigorated with each listening--such a pleasure.
    • 87 Metascore
    • 90 Critic Score
    The Suburbs is a really good record, but it's clear that indie rock is not in Kansas anymore.
    • 83 Metascore
    • 90 Critic Score
    Grinderman 2's variety and complexity never feels like a reach, and doesn't keep the album from cohering beautifully.
    • 86 Metascore
    • 90 Critic Score
    Deerhunter has come into its own, and the halcyon result is not to be missed.
    • 79 Metascore
    • 90 Critic Score
    Absolute Dissent reaches a few new peaks, no doubt. The band is still challenging itself, much like art punk peers Wire, The Fall and Nick Cave have in the past decade.
    • 84 Metascore
    • 90 Critic Score
    It feels like Bejar's comfortable with himself – relaxed even – and that feeling saturates the entire album. It's a confidence that makes Kaputt the best Destroyer album in ages.
    • 76 Metascore
    • 90 Critic Score
    Golden Era, the smartest, funniest, most urgent hip hop joint of '11 by far.
    • 94 Metascore
    • 90 Critic Score
    The early material is interesting, if only to hear how "Web in Front" and "Wrong" were fleshed out on Icky Mettle. But it's the album, and The Greatest of All Time, that are the real draw here.
    • 99 Metascore
    • 90 Critic Score
    Packaging quibbles aside, this is a great set.
    • 91 Metascore
    • 90 Critic Score
    It's a fantastic body of work, as vital and fresh-sounding now as it was when first released.