Dusted Magazine's Scores

  • Music
For 2,101 reviews, this publication has graded:
  • 49% higher than the average critic
  • 3% same as the average critic
  • 48% lower than the average critic
On average, this publication grades 1.5 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 Fever To Tell
Lowest review score: 0 Rain In England
Score distribution:
2,101 music reviews
    • 72 Metascore
    • 80 Critic Score
    The concept and the execution are both spectacular.
    • 79 Metascore
    • 80 Critic Score
    One Bedroom is the LP on which The Sea And Cake jettisons most of its jazzbo pretensions long enough to finish the pure, catchy, consistent pop-funk record it's always been capable of.
    • 75 Metascore
    • 80 Critic Score
    The harmonies and surging melodies feel natural and completely spontaneous, pop as a relaxed outpouring of sound.
    • 87 Metascore
    • 80 Critic Score
    A pleasantly lush album that may be his finest work yet.
    • 83 Metascore
    • 80 Critic Score
    Appealing and slyly catchy.
    • 86 Metascore
    • 80 Critic Score
    Perhaps the best thing about The Lemon of Pink is that it possesses a cohesion that its predecessor, even at its frequent best, still somehow lacked.
    • 85 Metascore
    • 80 Critic Score
    Positively stomps and bristles, with Smith and his band summoning up the type of chutzpah not normally found in middle age.
    • 74 Metascore
    • 80 Critic Score
    Spooked sidesteps the icy classicism that could’ve prevailed, considering who’s on hand.
    • 80 Metascore
    • 80 Critic Score
    Rage, speed, and math are still here; but there’s a cinematic scope and a real attention to mood and texture that’s new.
    • 76 Metascore
    • 80 Critic Score
    Everything here is marked with a hint of familiarity, but it's surprisingly hard to mind.
    • 82 Metascore
    • 80 Critic Score
    at you have here is the exact opposite of a period piece: it's new but it feels old, it's here but it's nowhere, it's now but it's forever. Whatever, wherever, and whenever it is, though, it's lovely.
    • 79 Metascore
    • 80 Critic Score
    While Desperate Youth, Blood Thirsty Babes could have become an exercise in studio-based formalistic noodling, Adebimpe and Malone’s vocals and lyrics give the songs structure and direction.
    • 84 Metascore
    • 80 Critic Score
    The whole affair feels a little slighter, a little less important.
    • 74 Metascore
    • 80 Critic Score
    The guitar throughout the album has an unusual approach which certainly helps PGMG stand out from the crowd.
    • 71 Metascore
    • 80 Critic Score
    A glorious and preposterous journey.
    • 83 Metascore
    • 80 Critic Score
    While some may scoff at the gentler side of the Animal Collective (especially when contrasted with the fully electric assault of last year's studio release), Sung Tongs easily stands alone as a crowning achievement in their eclectic discography, one that finds the group fully in control of their musical prowess and all the better for it.
    • 71 Metascore
    • 80 Critic Score
    There’s a remarkable continuity from track to track, and its obvious those contributing to Venomous Villain are long-time fans of Dumile’s work.
    • 83 Metascore
    • 80 Critic Score
    This is a more varied album than The Moon and Antarctica (which did seem to have only one speed), and with the return of original member Dan Gallucci, Brock appears to have revived the heavy lead guitar playing of their early work.
    • 71 Metascore
    • 80 Critic Score
    The compatibility between the browbeating belligerence of hardcore and the glitzkrieg of techno’s bare repetition is undeniable – and much more enjoyable than it reads on paper.
    • 88 Metascore
    • 80 Critic Score
    On the whole Basement is noisy and rough, and often sounds more like the best record Heatmiser never made than the next Elliott Smith album.
    • 87 Metascore
    • 80 Critic Score
    However great the merits of their debut might be, one can’t help but feel that there’s something just a little too perfect about Franz Ferdinand, as though they had planned out hipster world-domination around a scientifically constructed chart of "what’s hot and what’s not."
    • 82 Metascore
    • 80 Critic Score
    If Oh Me Oh My is Banhart’s most fantastic record and Rejoicing In The Hands his most focused, Nino Rojo is the singer at his most inclusive.
    • 68 Metascore
    • 80 Critic Score
    It's hard to believe at first listen, but they've got nuance.
    • 80 Metascore
    • 80 Critic Score
    Smith’s tracks are both banging and self-effacing, yet the two opposite impulses never seem fully at odds with each other.
    • 88 Metascore
    • 80 Critic Score
    You get the impression that the artist is truly a giving soul, even if his gift is in the form of an emotionally wrenching, uncomfortably confessional record.
    • 75 Metascore
    • 80 Critic Score
    A dramatic, often fascinating work, it inspires repeated and careful listening, and stands alongside the best of Bachmann’s work.
    • 75 Metascore
    • 80 Critic Score
    Blue Eyed in the Red Room doesn’t fit any hip hop preconceptions. Moving deftly from influenced to influential, Boom Bip defines himself by leaving limitations behind.
    • 78 Metascore
    • 80 Critic Score
    His lo-fi production values, traditional forms, and writerly sense of detail create songs that seem to recall moments from some collective past life, one that’s just barely disappeared from view.
    • 78 Metascore
    • 80 Critic Score
    Some of the most likable “weird hip-hop” around.
    • 88 Metascore
    • 80 Critic Score
    What's more remarkable than her fascinating biography is her bold music. Like her life story, there's hardly anything like it.