Dusted Magazine's Scores

  • Music
For 2,408 reviews, this publication has graded:
  • 51% higher than the average critic
  • 4% same as the average critic
  • 45% lower than the average critic
On average, this publication grades 0.9 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 Fever To Tell
Lowest review score: 0 Rain In England
Score distribution:
2408 music reviews
    • 85 Metascore
    • 80 Critic Score
    I Am Not Afraid Of You is a one-stop jukebox.
    • 85 Metascore
    • 60 Critic Score
    Chemistry may represent an attempt to marshal these influences into a massive, unified sound. Alternately, it could be the sound of Fucked Up fucking around with a big budget in a studio and seeing who might be duped into believing it genuine. Indeed, who will listen to this record?
    • 85 Metascore
    • 100 Critic Score
    Ys
    Ys is one of those rare sophomore albums that shatters exceedingly high expectations.
    • 85 Metascore
    • 80 Critic Score
    The personal songs, about Choi’s dissatisfactory early education and immigrant family, have a whiff of mythic American meta-story, while the historical ones are deeply felt and eccentric.
    • 85 Metascore
    • 80 Critic Score
    Now, 17 years removed from the original stateside release of the band’s music, this expanded reissue (buttressed with an additional disc of decent live tracks and a few cool demos) gives an entirely new generation of pop fans an excuse to dive into the group’s music.
    • 85 Metascore
    • 80 Critic Score
    The more Clark edits, the more she refines, the stronger St. Vincent becomes. At this point, it's just a matter of consistency.
    • 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.
    • 85 Metascore
    • 70 Critic Score
    Even if it fails to meet impossibly high expectations, The Harrow & The Harvest offers a handful of keepers while moving Welch and Rawlings (hopefully) past their writers' block.
    • 85 Metascore
    • 80 Critic Score
    Thoroughly satisfying in sum, Hart and crew still succeed in leaving the listener desirous of more.
    • 85 Metascore
    • 80 Critic Score
    It’s the wholeness of his style that is so arresting.
    • 85 Metascore
    • 80 Critic Score
    Overall, High Violet feels more like a protecting-the-franchise record than a new phase in the National's sound. And yet, even so, a handful of its songs rank with the band's very best.
    • 85 Metascore
    • 80 Critic Score
    That Vashti Bunyan had the courage to step out of seclusion and follow up her classic debut is admirable. That she was able to do so with an excellent batch of songs is a joy to behold, pure and simple.
    • 85 Metascore
    • 80 Critic Score
    You’ll never hear the same thing twice in listening to Levon Vincent. Akin to the highlights of his past discography, something in the mixes of these songs jumps out to grab you by the throat, then gradually retreats as other elements subtly work their way to the fore of your consciousness.
    • 85 Metascore
    • 70 Critic Score
    Before Today accomplishes exactly the same thing all his other good records do, so I’m not sure it does much for me that, say, House Arrest didn’t. Nonetheless, it’s still one of his better records--there are some excellent pop songs here, and it’s a good place to start for listeners who are unfamiliar with Pink’s bizarre schtick.
    • 85 Metascore
    • 80 Critic Score
    This is wonderful stuff, both as pure entertainment and a document of a vanished era.
    • 85 Metascore
    • 80 Critic Score
    Elements jostle together with the pitch and roll of the walk home after last call, the songs themselves are beautifully put together, with striking images that fit the melody exactly, shine for instant and then are tossed away.
    • 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.
    • 85 Metascore
    • 80 Critic Score
    The attraction that already existed between Xasthur’s music and Mount Eerie’s exerted a strong enough force on Elverum that it became incorporated into him.
    • 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.
    • 84 Metascore
    • 70 Critic Score
    Fantasy Empire’s production values keep some of this internal resistance in check, and the album’s relatively linear songwriting does the rest, with much of the record proceeding at a pretty steady gallop, without too many wrinkles or games of musical tug of war.
    • 84 Metascore
    • 80 Critic Score
    Maybe people with better audio equipment or a more jaded approach to electronic music have been enjoying him this much all along, but the remaining 47 percent are in for a surprise.
    • 84 Metascore
    • 70 Critic Score
    Most of Light Up Gold's songs are either filled with clever insights or self-aware honesty.
    • 84 Metascore
    • 60 Critic Score
    At the end, S-M is still a silly tribute band, years away from hoeing a unique row. But when musicians crank out such a joyously chaotic mess of someone else’s forced nostalgia, it’s hard to be mad at them.
    • 84 Metascore
    • 80 Critic Score
    Here on this fourth Cairo Gang album, Kelley works in full-blooded, freak-beated 1960s garage mode--and damn if the change-up doesn’t suit him.
    • 84 Metascore
    • 80 Critic Score
    The music offered here constitutes the expected fluid mixture of rhetoric and instrumentation.
    • 84 Metascore
    • 80 Critic Score
    The wild humor and slash-and-burn methodology of Comets on Fire have outlived any pretense to trend; Blue Cathedral makes a strong case for the permanent re-emergence of undiluted psychedelic rock.
    • 84 Metascore
    • 80 Critic Score
    The most disarming thing El-P's got going for him is his ability to sound like he's broadcasting from an impossible future even while he's standing right next to you in the present.
    • 84 Metascore
    • 70 Critic Score
    The orchestra’s nearly perfect. Cline’s selections are non-traditional but trustworthy and intelligent. The album keeps a persistent mood even as it reflects on the mood. But 80 minutes of it requires patient listening, and there aren’t enough moments to really grab here.
    • 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).
    • 84 Metascore
    • 100 Critic Score
    An instant classic. Few records contemplate such grandeur and fewer still achieve it.