Dusted Magazine's Scores

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For 3,271 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 higher 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: 2,655 out of 3271
  2. Mixed: 581 out of 3271
  3. Negative: 35 out of 3271
3271 music reviews
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    • 65 Metascore
    • 70 Critic Score
    All Hits: Memories
    White, who is deeply respected by his peers, makes some clever moves on All Hits: Memories which clear the way. The first move is to turn toward free jazz, where solo percussion is a bit more familiar than in indie rock. Without doubt he has the chops, too, shifting between groovy phrases and episodes that expand and branch rhizomatically.
    • 65 Metascore
    • 80 Critic Score
    You & Me
    He and his accompanists perform perfectly, with Barker’s elegant leads being one of, rather than the exclusive, focal point.
    • 65 Metascore
    • 50 Critic Score
    Transfixiation
    Volume is fine, fuzz is good, but it shouldn’t obliterate the songs.
    • 65 Metascore
    • 40 Critic Score
    Gauntlet Hair
    There is literally nothing on Gauntlet Hair that hasn't been done better by more respectable second-order bands like Tonstartssbandht or Ganglians.
    • 65 Metascore
    • 50 Critic Score
    Presidence
    The long, extended space-outs similarly have their moments both good and bad.
    • 65 Metascore
    • 70 Critic Score
    Through the Green
    Through the Green is one of the finest dance LPs of the year for sure, but it's not something I could listen to every day.
    • 65 Metascore
    • 40 Critic Score
    In the Grace of Your Love
    One of the risks of having faith is becoming deaf to plain truths. The truth in this case is that most of In the Grace of Your Love is lousy.
    • 65 Metascore
    • 60 Critic Score
    Candela
    Candela doesn't represent Mice Parade's most memorable outing, but it does showcase a willingness to expand the expectations surrounding their sound.
    • 65 Metascore
    • 60 Critic Score
    Forever
    When they’re not trying to imitate the inimitable, Painted Palms hit a pleasant if not ground-shaking plateau.
    • 65 Metascore
    • 60 Critic Score
    Spills Out
    Spills Out isn't the best record of its ilk to come out this year, but it's not the worst, either.
    • 65 Metascore
    • 40 Critic Score
    Anika
    Anika was apparently recorded in a short time, and it's hard not to wish it felt at once more urgent and more cohesive.
    • 65 Metascore
    • 60 Critic Score
    Horses and High Heels
    There are the four originals here on Horses and High Heels. And for my dope money at least, they count among the highest songs she's had since getting off the stuff some 20 years ago.
    • 65 Metascore
    • 50 Critic Score
    Our Loving is Hurting Us [EP]
    Everything else seems comparatively flat and unsurprising; while the components of the individual songs are different, the results are of a kind, like a set of recipes using the same ingredients.
    • 64 Metascore
    • 60 Critic Score
    Tiny Cities
    Tiny Cities differs very little from how we might expect it to sound.
    • 64 Metascore
    • 70 Critic Score
    The Flexible Entertainer
    As much as anything, the record seems to be about holding the dark at bay, with stabbing riffs that jut at odd angles into the void, with frantic, interlocked rhythms that echo over silent spaces, with dance-syncopated sing-songs darting and fading into impenetrable gloom.
    • 64 Metascore
    • 50 Critic Score
    Skin Of Evil
    The narrators’ weaknesses become the songs’ weaknesses; Mercer apparently prefers to sustain verisimilitude at the expense of Skin of Evil’s potential. It’s a bold artistic move that lends itself to the page far more convincingly than it does to the ear.
    • 64 Metascore
    • 40 Critic Score
    The Exchange Session Vol. 2
    Neither of them could truly be called “free” players - most of their own music is fairly composed - and it sometimes seems like they don’t really know what they’re doing with each other.
    • 64 Metascore
    • 70 Critic Score
    Penny Sparkle
    Certainly fans of the Blonde Redhead of old may damn Penny Sparkle with faint praise. Yet if Penny Sparkle veers a bit too close to Blonde Redhead meets Sade, it is mostly pleasant, and not for all of us is that word an epithet.
    • 64 Metascore
    • 60 Critic Score
    The Illustrated Garden
    Mainly these songs remain steadfastly, quietly, emotional. For every moment that comes off too lightly, there’s an equal moment of memorable melody.
    • 64 Metascore
    • 60 Critic Score
    D.U.M.E. [EP]
    Adult. doesn't make their music easy to swallow, and some of the tracks here don't feel fully developed. But this is a band in transition, exchanging the spacious rhythms of their electro for a suffocating spin on rock revivalism.
    • 64 Metascore
    • 70 Critic Score
    Graveyard of Good Times
    If you flipped over Car Seat Headrest or just harbor a fondness for melodic hiss and fuzz, you’ll like this.
    • 64 Metascore
    • 60 Critic Score
    Return To Form
    More than once Return To Form reminds me of a regular season game by the Chicago Bulls in the later years of Michael Jordan’s reign; needing something to surmount before they pull out the brilliance, they let things coast until they’re behind and then pull things out of the fire in the last couple minutes.
    • 64 Metascore
    • 80 Critic Score
    Hello Everything
    It's certainly not a perfect album, but Hello Everything represents the pinnacle of performance from electronic music's most thoroughly developed mind.
    • 64 Metascore
    • 70 Critic Score
    Autumn Was A Lark
    Its function is not that of a follow-up to Summer but rather as a companion piece that documents a productive period for the band. As such, the record is eminently satisfying, with loose playing and a relaxed air.
    • 64 Metascore
    • 50 Critic Score
    Take My Breath Away
    But from the stridently Floydian gravitas of its cover to the ponderous, tolling piano notes that close the album, Take My Breath Away finds Boratto straining uncomfortably to make some kind of serious statement.
    • 64 Metascore
    • 70 Critic Score
    Ultraista
    The best songs on Ultraísta recall the murky pop made by the likes of Broadcast, where clarity and catchiness intermingled
    • 64 Metascore
    • 60 Critic Score
    Church Gone Wild / Chirpin Hard
    Aside from Church Gone Wild’s best moments, there’s not much material here that can compare with the intelligence and distinctiveness of the duo’s best work.
    • 64 Metascore
    • 60 Critic Score
    In the Cool of the Day
    Vocally, In the Cool of the Day often lacks that urgency: it's a beautifully played, highly accessible album that nevertheless leaves much less of an impact than one might expect.
    • 64 Metascore
    • 40 Critic Score
    Salt On Sea Glass
    Together, and backed by the rhythm section of Cornelius' band, one would hope for left-field pop fireworks, but their debut album Salt on Sea Glass is more of a mediocre light show.
    • 64 Metascore
    • 80 Critic Score
    They Were Wrong, So We Drowned
    For such menacing music, the overall effect is oddly inviting.
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