Dusted Magazine's Scores

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For 3,272 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: 2,656 out of 3272
  2. Mixed: 581 out of 3272
  3. Negative: 35 out of 3272
3272 music reviews
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    • 72 Metascore
    • 70 Critic Score
    Rhetoric & Terror
    “Six Six Seven (Monsieur Faux Pas)” is all rushing, clambering, beat-wrecked chaos (and very early Liars), while the single “Strawberry Hill” fills well established structures with pastel colors, a pop song melting into dream state. You could fit this latter song onto an Animal Collective-family album, Avey Tare or Panda Bear, possibly.
    • 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.
    • 69 Metascore
    • 70 Critic Score
    13 Blues for Thirteen Moons
    The band still knows how to move gracefully over the duration of long pieces and flash occasional glimpses of that once unrivaled crescendo toward catharsis. But on 13 Blues, it seems like SMZ are more interested in making their own movie than just providing a backdrop.
    • 74 Metascore
    • 70 Critic Score
    Lost Themes
    The power of Carpenter’s best soundtrack work, the title themes to Halloween and Assault on Precinct 13, comes from their relentless, single-minded drive. But when this approach is stretched to full, eight minute tracks as it is on Lost Themes, it can wear thin. This being said, there’s still some fun to be had on Lost Themes.
    • 75 Metascore
    • 70 Critic Score
    The Voidist
    There is the danger that The Voidist comes off as a collection of songs, not an album. But for the most part they’re really good songs, and sometimes that’s more than enough.
    • 67 Metascore
    • 70 Critic Score
    House of Spirits
    There are differences around the edges that are making Fresh & Onlys ever more interesting, fresher and more singular, a better version of what they have been promising all along.
    • 76 Metascore
    • 70 Critic Score
    The Door
    When Religious Knives stretch their limbs, they’re still good, but both 'The Storm' and 'On A Drive' lack the power of their more formed songs.
    • 65 Metascore
    • 70 Critic Score
    Spiritual Mental Physical
    We get a brief chance to eavesdrop on a band of unique genius at its most raw, its most prankish and its most fun. It almost makes up for the chills, the sweat and the free cans of watery domestic.
    • 84 Metascore
    • 70 Critic Score
    Lovers
    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.
    • 74 Metascore
    • 70 Critic Score
    The Distance Is So Big
    It’s a solid album where both songcraft and the estimable loud-quiet-loud dynamic can share the spotlight.
    • 73 Metascore
    • 70 Critic Score
    Judy Sucks A Lemon For Breakfast
    This is Cornershop doing Cornershop very well.
    • 75 Metascore
    • 70 Critic Score
    Go Easy
    While there’s not that much darkness in this album, there’s plenty of scratch and friction to balance out the pop.
    • 65 Metascore
    • 70 Critic Score
    New Epoch
    This is brink-of-apocalypse dubstep, wringing your guts with its internal tension rather than banging you over the head - without being didactic.
    • 75 Metascore
    • 70 Critic Score
    Crowd Can Talk/Dressed in Trenches
    This is an impressive statement from a band that’s still forming itself. Its sound is distinctive and compelling, but still audibly shifting as they go. It’s hard to imagine where they might end up ten or even five years out, but my guess is it’ll be someplace cool and very different from where they are now.
    • 77 Metascore
    • 70 Critic Score
    Rough Carpenters
    Not much of a change then, is it? But if it ain’t broke, don’t fix it.
    • 74 Metascore
    • 70 Critic Score
    In Evening Air
    Nothing on In Evening Air quite achieves the slow-burning power of the title track to their In the Fall EP. But as a distillation of Future Islands' textured, unpredictable approach to pop, it's a fine starting point.
    • 80 Metascore
    • 70 Critic Score
    Snakes For The Divine
    The production jars mainly on the opener, "Snakes For the Divine" - Pike's leads sound wankier, and Kensel's drums flatter and softer, than one might want. But overall, Fidelman's work doesn't obtrude too badly.
    • 74 Metascore
    • 70 Critic Score
    Raft
    Tempting as it is to try, given the linear nature of both the album’s first half and the journeys it references, Raft resists being poured into any one narrative container.
    • 73 Metascore
    • 70 Critic Score
    Fomo
    There are perhaps ways to defy expectations and still capture that truth about oneself, though that's not present in Two Matchsticks. Holding that against The Wooden Birds is certainly unfair in many ways, but still must be accounted for.
    • 73 Metascore
    • 70 Critic Score
    Under A Billion Suns
    So what’s a band to do that sticks to its guns and produces some of the finest sludgy blues-punk this side of Blue Cheer? Well, for starters, add horns. Call it a gimmick or a last-ditch effort at reinvention, whatever the case, but it works.
    • 70 Metascore
    • 70 Critic Score
    Warm Slime
    Thee Oh Sees conjure sweet, sticky fuzz, and there's very few spaces on Warm Slime to take a breath, or think about what you've heard. Then again, it's this very saturation that makes Warm Slime such a natural high.
    • 66 Metascore
    • 70 Critic Score
    What a Pleasure
    What A Pleasure drips with what so many second-outings lack: promise. If this EP is an indicator, what comes next from these dudes will merit anticipation.
    • 67 Metascore
    • 70 Critic Score
    The Host
    The Host is a sun-blessed electronic album drawing from the now, as well as two decades ago, and that works well enough.
    • 78 Metascore
    • 70 Critic Score
    Sagittarian Domain
    Sagittarian Domain is an intriguing offering from Ambarchi, if not something with a great deal of potential for repeat success.
    • 79 Metascore
    • 70 Critic Score
    Teens of Style
    Car Seat Headrest feels, at this point, like it’s about half under control, with Toledo at the wheel, yanking desperately to keep it on the road, and yet it’s sort of magnificent.
    • 81 Metascore
    • 70 Critic Score
    Sweet Heart Sweet Light
    This uneven album takes time to break in, but each successive spin deepens the relationships among the songs and reveals more details.
    • 84 Metascore
    • 70 Critic Score
    Infinity Machines
    It’s easy to forgive Gnod such self-indulgence, however, even if it means Infinity Machines just about fails to maintain interest throughout, because this album sounds like very little out there, at least from a rock perspective.
    • 68 Metascore
    • 70 Critic Score
    Burning Daylight
    Burning Daylight's best songs emerge from an ominous fog of sounds.
    • 83 Metascore
    • 70 Critic Score
    Grinderman
    Grinderman is as refreshing, bracing and absurd as the Birthday Party were when they blew onto the scene with their Old Testament zeal.
    • 75 Metascore
    • 70 Critic Score
    Bad News Boys
    Bad News Boys works more as a collection of singles than a continuous listening experience. You’re constantly switching gears as you move through it.
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