Dusted Magazine's Scores

  • Music
For 2,136 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:
2,136 music reviews
    • 75 Metascore
    • 60 Critic Score
    Morgan Delt is too academically rooted in the past to really disconnect from it. Still, as a debut, it shows some promise.
    • 75 Metascore
    • 60 Critic Score
    Daughters of Everything is a fine, fun rock ‘n’ roll record that struggles with a gimmick it didn’t really need.
    • 78 Metascore
    • 60 Critic Score
    It is crowded with guest artists and jostling with stylistic adventures, but its eccentricities have been mostly sanded down to a glossy finish.
    • 73 Metascore
    • 60 Critic Score
    There is certainly not much to coax the ladies onto the dance floor here. Still visions are visions, and whether you find them through hedonism or self-denial, worth having. In some cases, it is hard to tell the difference.
    • 62 Metascore
    • 50 Critic Score
    Too much of The Listener finds Gelb bridging his inspired moments with monotonous jazz piano and dusty crooning.
    • 63 Metascore
    • 50 Critic Score
    Three-Four is simply too filled with excesses and repetitions for its bright moments to add up to a solid album.
    • 70 Metascore
    • 50 Critic Score
    Upon repeated listens, the album gets about as intimate as Wembley. Played-up drum fills, crescendoed dynamics and large soundboards add little to the Turin Brakes sound.
    • 62 Metascore
    • 50 Critic Score
    It's not really very interesting, bold or exciting, but neither is it ever objectionable.
    • 70 Metascore
    • 50 Critic Score
    It’s plenty theatrical, and tries to be upsetting at some points and rustic at others. It’s hard to get too worked up either way, however, especially when the sound turns fuzzy at all the key moments.
    • 78 Metascore
    • 50 Critic Score
    Blonde Redhead haven't run out of ideas, but Misery strips them of their eccentricities so thoroughly that the few that remain sound out of place.
    • 76 Metascore
    • 50 Critic Score
    Dispensable, and far from groundbreaking.
    • Dusted Magazine
    • 71 Metascore
    • 50 Critic Score
    While Múm's music has always posed a mysterious, melodic invitation to the listener, their latest offering feels flat at times, with very few signposts marking the way and even fewer landmarks inviting one back again.
    • 87 Metascore
    • 50 Critic Score
    Showtime’s length dilutes the bursts of exotic spice and flavor laced throughout.
    • 72 Metascore
    • 50 Critic Score
    We can see Power as a breakthrough provided that we do not think about the DFA, !!! or Out Hud, or Les Savy Fav. Unfortunately, Q and Not U do not have much to add to what those bands have already done.
    • 77 Metascore
    • 50 Critic Score
    In expanding her breadth, Merritt relinquishes too much of the depth that made her debut so distinguished.
    • 57 Metascore
    • 50 Critic Score
    Unfortunately, the observational heart of the disc's best rhymes are obscured by manicured eccentricity and musical dilettantism.
    • 78 Metascore
    • 50 Critic Score
    The album’s biggest weakness lies in its arrangements.
    • 76 Metascore
    • 50 Critic Score
    A nasty, dense and confrontational mess.
    • 77 Metascore
    • 50 Critic Score
    They’ve attempted to tighten up where their debut hung slack – shorter, less songs, less room to drag. Yet dragging is all that Celebration Castle does, falling deeper into the garage-meets-new wave dichotomy that looks good on paper but would require considerably more talent to execute.
    • 70 Metascore
    • 50 Critic Score
    A few promising moments aside, most of it hardly resounds at all.
    • 61 Metascore
    • 50 Critic Score
    Seems to be a misguided stab at radio-friendliness.
    • 73 Metascore
    • 50 Critic Score
    Plat du Jour is no great aesthetic success (it is too spotty and inconsistent) and its discursive dogmatism can border on sledgehammer browbeating. Nevertheless, Herbert does ask questions no other artist is wont to pose; for this, he commands our respect.
    • 66 Metascore
    • 50 Critic Score
    Jackson’s debut album is not always a success, as Smash’s panoptic detail eventually turns homogeneous.
    • 66 Metascore
    • 50 Critic Score
    It's a fairly fun album, albeit not one that sticks with you.
    • 78 Metascore
    • 50 Critic Score
    Though these may succeed as pop songs, Belle & Sebastian ultimately subvert their appeal by contradicting precious, self-effacing sentiments with brash music.
    • 65 Metascore
    • 50 Critic Score
    Like many of their retro-rock peers, however, the band struggles to find a personal identity that transcends imitation and homage; the result is an album that, while excellent at moments, often falls victim to its own stylistic incertitude.
    • 64 Metascore
    • 50 Critic Score
    To be sure, grime is a hybrid genre, but Run the Road 2 often shows how the balance can be weighed too heavily towards American rap idioms.
    • 81 Metascore
    • 50 Critic Score
    Really, these songs are dance tunes, and the proper place for them is in a club at high volume. Listening to them at home is, to be honest, somewhat disappointing and perhaps does the tracks a disfavor, because they're not that detailed.
    • 62 Metascore
    • 50 Critic Score
    While it’s not bad per say, it is certainly lacking in spark.
    • 76 Metascore
    • 50 Critic Score
    The Avalanche is, perhaps predictably, a middling reconstitution of its legitimate predecessor.