Dusted Magazine's Scores

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For 3,077 reviews, this publication has graded:
  • 53% higher than the average critic
  • 5% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 0.1 points lower than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Ys
Lowest review score: 0 Rain In England
Score distribution:
  1. Positive: 2,469 out of 3077
  2. Mixed: 574 out of 3077
  3. Negative: 34 out of 3077
3077 music reviews
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    • 86 Metascore
    • 80 Critic Score
    A Light for Attracting Attention
    Ultimately, whether The Smile spells the end of Radiohead feels beside the point when the music that Yorke and Greenwood are making at this stage in their career is this damned good.
    • 80 Metascore
    • 80 Critic Score
    Don't Wait for a Sign
    Listen to the second album next to the first, and it’s like when the eye doctor finds the right lens strength and all the letters become legible.
    • 80 Metascore
    • 80 Critic Score
    Get On Board
    You could spend a lot of time thinking about why these songs and what Terry and McGhee meant in their own time and what they mean now, but the songs are pure visceral experiences that you feel in your gut and your heart.
    • 83 Metascore
    • 80 Critic Score
    Past Life Regression
    The atmosphere is lovely—it refracts the light like the last traces of fog in sunlight—but there are songs here underneath, good ones, and that makes all the difference.
    • 84 Metascore
    • 90 Critic Score
    You Belong There
    An ambitious, wrenching, majestic album.
    • 78 Metascore
    • 80 Critic Score
    Raum
    Raum shows that they can still make it happen, vast swatches of sound, space and symbol coalescing along paths toward those points in time when Tangerine Dream sounds like no one else.
    • 84 Metascore
    • 80 Critic Score
    How Is It That I Should Look at the Stars
    The recording’s sessions were done in a few days, and the final product retains a fetching immediacy and intimacy. A fundamental lightness of affect pervades the recording, even when it delves into heavy or sad topics.
    • 81 Metascore
    • 60 Critic Score
    Gold
    Given DePlume’s voice is such a strong flavor, Gold’s appeal will no doubt hinge on whether it’s to your taste. I find it fine in small doses, but domineering over the course of a double album. There’s some great music here if you have the patience to cherry-pick the best bits.
    • 82 Metascore
    • 80 Critic Score
    Warm Chris
    Minor quibble aside, Warm Chris is a fantastic record full of color, humor and wonder.
    • 73 Metascore
    • 80 Critic Score
    Broken Equipment
    Bodega have extended their musical palette and tightened their songwriting to produce an album that bristles with energy and intelligence.
    • 83 Metascore
    • 80 Critic Score
    Only Love From Now On
    Aware of the vastness but alive to the myriad small beauties that flit in and out of view, seemingly oblivious but alert to the potential threat of your presence. Carmen Villain captures these delicate balances in her music and invites the listener to ponder their passivity and question their gaze.
    • 80 Metascore
    • 80 Critic Score
    Wild Loneliness
    Wild Loneliness is the perfect album for this moment, in which darkness isn’t denied but is repudiated to within an inch of its life.
    • 74 Metascore
    • 80 Critic Score
    In/Out/In
    It all reminds you of how great a band Sonic Youth was, even at play, even at home trying out tunings and motifs, tossing one idea out into the amplifiers and hearing it echoed, altered, elaborated by tuned-in others.
    • 87 Metascore
    • 80 Critic Score
    Ghost Song
    Salvant shows off a sharp wit in the talk-sung, “Obligation,” a fluid sophistication on “If I Lost My Mind,” and a little bit of swagger on the brief, piano-pounding “Trail Mix.” Her original songs are as varied as the covers.
    • 81 Metascore
    • 50 Critic Score
    God Don't Make Mistakes
    With his debut album on Shady Records, Conway the Machine shows that he remains a gifted lyricist and a good storyteller, yet hardly offers anything original.
    • 71 Metascore
    • 80 Critic Score
    Havasu
    Havasu is raw with current and remembered emotion, but there’s love at the center of it – for the girls at school, for the places he went and even for the family that misunderstood him— and that warm forgiveness makes it all the more powerful.
    • 82 Metascore
    • 70 Critic Score
    Still Life
    Still Life seems mostly solid, presenting evidence of talent, taste and potential, but not quite pushing things over the top.
    • 85 Metascore
    • 80 Critic Score
    Pompeii
    A surrealist song cycle that is both oblique and engaging.
    • 74 Metascore
    • 80 Critic Score
    Archive Material
    If you like jagged, body-moving beats and clever kids slinging dissatisfaction, try Silverbacks.
    • 85 Metascore
    • 60 Critic Score
    Lucifer on the Sofa
    Overall, its more up-tempo songs aside, Lucifer on the Sofa is a disappointment, offering regrettable evidence that Britt Daniel’s laudable song writing mojo may have gone off the boil.
    • 78 Metascore
    • 80 Critic Score
    Dissolution Wave
    The songs’ stoner shoegaze impact can be appreciated even if you miss the line that tells you our narrator is an asteroid miner. But if you do lean into meditating on its themes, the phantasmagorical desolation that is Dissolution Wave’s intended setting makes the songs hit even harder.
    • 87 Metascore
    • 80 Critic Score
    Summer at Land's End
    As good as its individual songs and moments are, Summer at Land’s End is even better experienced as a whole, where it takes on a world-of-its-own feel, thanks, in part, to a pair of hypnotic instrumentals.
    • 88 Metascore
    • 90 Critic Score
    Dragon New Warm Mountain I Believe in You
    The most surprising aspect of DNWMIBIY is that for a double album, the quality control is high and the sequencing is especially effective. ... In the meantime, DNWMIBIY is the first album to join my best of 2022 list.
    • 86 Metascore
    • 80 Critic Score
    Good and Green Again
    The album sounds a little warmer and less rustic than might be expected. The sound’s not inherently better or worse, but it suits Fussell’s movement toward more expansive orchestration and a more contemporary feel.
    • 78 Metascore
    • 80 Critic Score
    In Free Fall
    The longest track on the recording, at 7’21”, is “Sadder than Water,” where the stasis of basslines found elsewhere are broken into an angular melody overlaid with oscillating chordal material. This, along with the outer two tracks, points to a promising way forward for Shenfeld, in which her skill at creating textures is matched by her ability to develop them.
    • 81 Metascore
    • 70 Critic Score
    W
    Most of the record is engaging stuff, noisier than pretty, stranger than it is studied.
    • 79 Metascore
    • 80 Critic Score
    Music for Psychedelic Therapy
    An album about finding meaning in the quiet, and even people who will never take psychedelic drugs or visit remote Ecuadorian caves, can get something out of that.
    • 82 Metascore
    • 80 Critic Score
    Blind Date Party
    Callahan’s honeyed, slightly gravelly bass-baritone, which comes across as dispassionate to the point of being noncommittal on Blind Date Party at times, and Bonnie Prince’s tenor, consistently vulnerable, raw, wide open, complement each other in a compelling way, establishing dramatic tension and unearthing emotionally resonant inner dialogues within the album’s songs.
    • 83 Metascore
    • 80 Critic Score
    Buds
    The hooks are strong, and the harmonies sweetly hypnotic, but in between the choruses, you can still catch a firehose blast of pure guitar that will knock you back flat if you’re not braced properly.
    • 68 Metascore
    • 80 Critic Score
    Luminous Rot
    It still has a sonic attack and extreme enough structural sense that the genre tag on its own probably doesn’t do enough to sum up what’s going on here. Baker and Buckareff are the rare creators who absolutely locked into their particular sound pretty much immediately and through many (many) releases over the years have never really sounded like anything but Nadja, and yet within that distinct soundworld they continue to find new shades in what in lesser hands would be a pretty limited palette.
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