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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    • 79 Metascore
    • 80 Critic Score
    Fluorescent Black
    Even at its most abstract and cerebral, Fluorescent Black is made irresistibly catchy by its wildly eclectic tracks (courtesy of unsung genius Earl Blaze), at once the smartest and most ig’nant windshield-rattlers out.
    • 79 Metascore
    • 50 Critic Score
    Broken Dreams Club
    Now, they're just going through the motions.
    • 79 Metascore
    • 70 Critic Score
    i
    In brevity it betters the 1999 boxed set, in songwriting it plateaus.
    • 79 Metascore
    • 50 Critic Score
    Field Music (Measure)
    Field Music can certainly use each song’s inherent tension to keep each song coherent, but over two album’s worth of music, that tension is diluted, and the songs tend to run into each other.
    • 79 Metascore
    • 80 Critic Score
    FEET OF CLAY
    If you’d said in 2014 that by 2019 Earl Sweatshirt, a scrawny kid from Odd Future, would be one of the most well-regarded hip hop artists, nobody would have taken it seriously. But after 2018’s Some Rap Songs, it has become evident that it’s true, and the new EP proves it.
    • 79 Metascore
    • 80 Critic Score
    Here and Nowhere Else
    The balance is the thing, and on Here and Nowhere Else, the balance is very, very good.
    • 79 Metascore
    • 80 Critic Score
    Below The Branches
    A record that spits in the eye of assertions that they don’t make records like they used to.
    • 79 Metascore
    • 80 Critic Score
    Cerulean Salt
    Cerulean Salt is a very strong album, frank and blunt and vulnerable.
    • 79 Metascore
    • 80 Critic Score
    II
    Almost all of II has a first-take rawness, well recorded, but without fuss.
    • 79 Metascore
    • 60 Critic Score
    The Most Lamentable Tragedy
    The problem is that if it’s not very compelling as theatre, the theatrical parts get in the way of enjoying the songs, which are pretty good in a brash, bull-headed, punk-belligerent kind of way.
    • 79 Metascore
    • 80 Critic Score
    Snow
    Everything about Snow feels worn-in, the loose but precise way that guitars and drums and basses coalesce around melodies, the seen-it-all cadences in which these songs are sung, the bemused sense that here we all are again, still mired in a dissatisfactory world, still shrugging away things that hurt and perplex.
    • 79 Metascore
    • 80 Critic Score
    Samsara
    Venom Prison makes songs that are just as musically violent as the stuff their deathgrind peers churn out, often thrillingly so. But the Welsh band lifts the subgenre out of the thematic gutter. ... This is a terrific record.
    • 79 Metascore
    • 70 Critic Score
    An Imaginary Country
    An Imaginary Country is a solid record, but in the context of Hecker’s discography, it can also be underwhelming at times.
    • 79 Metascore
    • 80 Critic Score
    Songs Of Shame
    Songs of Shame is more humble by an entire order of magnitude, but still contains that feeling of honesty, a feeling that should allow Woods to be more than just some ephemeral pleasure once the hype around the band and their Woodsist label inevitably withers away.
    • 79 Metascore
    • 80 Critic Score
    Geneva
    By letting their music do all the talking, Russian Circles have told the story of their personal growth entirely in song, and it’s a growth that involves all the melodic intricacy and inventive theme-and-variation play that their contemporaries have had much greater difficulty overcoming.
    • 79 Metascore
    • 80 Critic Score
    Abyss
    Wolfe’s act appears, from a distance, to dare that kind of cheap easy success without succumbing to its tastelessness or disposability. Abyss wins that bet across all of its 11 songs, steering close to the simple release of power chorded, full-throttle choruses but often withholding complete release.
    • 79 Metascore
    • 70 Critic Score
    In The Court Of The Wrestling Let's
    Thankfully, these dudes--singer/guitarist Wesley Patrick Gonzalez, bassist/vocalist Mike Lightning and drummer Darkus Bishop--do a fine job of remembering that the wit will only have a lasting impression if it’s built into some solid songs.
    • 79 Metascore
    • 60 Critic Score
    Garden of Delete
    At its best, you can get lost inside Garden of Delete’s rabbit hole of different directions and unexpected asides, but at other times it’s easy to feel shut-out, as if you’re looking in at someone’s intellectual ADHD, but he’s steadfastly refusing to meet your gaze.
    • 79 Metascore
    • 80 Critic Score
    Our Blood
    Ultimately, Williams never made a record as intense and as beautiful as Our Blood.
    • 79 Metascore
    • 70 Critic Score
    Guider
    Much of what lends the album distinction is the tension created between the band's bold, confident projections and the more delicate core at their center. At times, that tension can be disorienting.
    • 79 Metascore
    • 80 Critic Score
    Jump Rope Gazers
    While they sacrifice a little of the propulsive excitement of their debut, the tweaks to their sound deepen the emotional impact of this new set of songs.
    • 79 Metascore
    • 80 Critic Score
    Orphée
    It’s as if the drug and crime infested landscapes of Sicaro were Jóhansson’s underworld, but, unlike Orpheus, he did not look back on his return, absorbing and assimilating his discoveries into his increasingly unified compositional aesthetic.
    • 79 Metascore
    • 70 Critic Score
    Nouns
    Though generally safe and un-"sexy," Nouns is the sort of album around which healthy musical communities could grow, and that seems to be the point.
    • 79 Metascore
    • 80 Critic Score
    Astro Coast
    Their potential is the wrong thing to appreciate: it's their immediacy, their unstudied and unfocused energy, that hits the spot.
    • 79 Metascore
    • 70 Critic Score
    Supper
    The churning, blues-rock approach is a recent (Smog) development, and too often it overwhelms the feeling of cracked intimacy that makes him great. There are other times, however, when it really works.
    • 79 Metascore
    • 80 Critic Score
    House With No Home
    It is really a much more modern album than the Americana tag would at first suggest, and the songs are as instantaneous and memorable as the best pop music.
    • 79 Metascore
    • 50 Critic Score
    Real Estate
    Real Estate’s sound is imbued with the same sentimentality as the rest of the indie class of 2009, but with zero ambition.
    • 79 Metascore
    • 80 Critic Score
    Trash Hit
    The reason this album is such a remarkable feat is because they've willingly entered some of the most tired territory in rock over the last decade and still manage to make it sound as fresh and exciting and invigorating as the first time you or anyone else you know heard music like this.
    • 79 Metascore
    • 70 Critic Score
    Bermuda Drain
    Bermuda Drain bears the influence of Fernow's recent work with gloom-pop monger Wesley Eisold of Cold Cave. Synths dominate: crystalline, graceful and clean.
    • 79 Metascore
    • 80 Critic Score
    Phases
    A series of alternate takes, compilation tracks and previously unreleased songs that hail, aesthetically, from the Burn Your Fire and before era. Which is to say, they are pared back, emotionally lacerating and carried by Olsen’s eerie country soprano, which wobbles and flutters in a high lonesome style somewhere between Patsy Cline and Roy Orbison.
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