DIY Magazine's Scores

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For 3,422 reviews, this publication has graded:
  • 55% higher than the average critic
  • 4% same as the average critic
  • 41% lower than the average critic
On average, this publication grades 0.9 points higher than other critics. (0-100 point scale)
Average Music review score: 74
Highest review score: 100 Superbloom
Lowest review score: 20 Let It Reign
Score distribution:
  1. Positive: 2,498 out of 3422
  2. Mixed: 911 out of 3422
  3. Negative: 13 out of 3422
3422 music reviews
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    • 70 Metascore
    • 60 Critic Score
    Names of North End Women
    ‘Light Years Out’ is an ill-advised journey into electro-funk territory but overall, ‘Names of North End Women’ is an interesting work that shows Ranaldo has retained all his youthful capacity for innovation and experimentation.
    • 73 Metascore
    • 60 Critic Score
    Man Alive!
    Ultimately, ‘Man Alive!’ feels like the work of an artist in transition: a handful of stunning tracks surrounded by some backfiring experiments. It’s frustrating but there are still gems to be found amid the soul-searching.
    • 72 Metascore
    • 70 Critic Score
    3D Routine
    It’s very much designed in their own image - as debuts go, this is an impressive mission statement.
    • 78 Metascore
    • 70 Critic Score
    Honeymoon
    Frontwoman Lili Trifilio describes ‘Honeymoon’ as an ode to spontaneity, and it’s in certain abundance on an album that finds the Chicagoan outfit entering a state of pent-up rapture. The band roam without a care, sporadic laid-back moments gelled with raucous vitality - a sensitive chemistry which Beach Bunny absolutely nail.
    • 83 Metascore
    • 80 Critic Score
    Boniface
    Written throughout their teenage years, they deliver an unfiltered journey of self-discovery.
    • 79 Metascore
    • 60 Critic Score
    Stray
    M uch of ‘Stray’ could do with heeding its own advice; instead Bambara stay firmly on a strong but fairly predictable path.
    • 79 Metascore
    • 80 Critic Score
    The Slow Rush
    Beneath the familiarity, Tame’s fourth is operating in a subtly different world. Where ‘Currents’ doffed its cap heavily to R&B within its pop smarts, creating his most commercial work yet, ‘The Slow Rush’’s ingredients feel slightly more disparate.
    • 76 Metascore
    • 70 Critic Score
    Sing in a World That's Falling Apart
    Gone the mangled Nuggets riffs and LSD infected yelps, replaced instead by slide guitars and deranged yee-haws. It shouldn’t really work, but it does.
    • 82 Metascore
    • 70 Critic Score
    Football Money
    While stuffing itself with enough insight to force its listeners to acknowledge contemporary issues, also present is enough charm and wit to remind us of the importance to having a little fun along the way.
    • 72 Metascore
    • 80 Critic Score
    I Disagree
    Whether viewed as empowered statement from a newly-free artist, or simply as a great record from pop’s new princess of darkness, ‘I Disagree’ is in fact, extremely agreeable indeed.
    • 79 Metascore
    • 60 Critic Score
    Big Exercise
    The band have expanded their sound with mixed results.
    • 78 Metascore
    • 80 Critic Score
    All or Nothing
    ‘All or Nothing’ is a grand refinement of their previous work, rather than a reinvention. Still retained is that amazing sense of propulsion and momentum the group have made their own; ‘Initiative’ and ‘Body Clock’ are impossibly fast, constantly threatening to overbalance themselves, yet always remaining resolute and gloriously intact.
    • 73 Metascore
    • 80 Critic Score
    West of Eden
    With ‘West Of Eden’ HMLTD have fought off the suffocating grip of overhype to deliver a debut album that is a cut above the rest, even if it is a little overdue.
    • 68 Metascore
    • 60 Critic Score
    Supervision
    It’s all largely inoffensive and wholly listenable. Which is fine, but we’ve come to expect more from La Roux.
    • 68 Metascore
    • 60 Critic Score
    Father of All…
    Granted, it doesn’t always quite connect, and it probably won’t enter the Green Day canon, but it’s a bit of fun all the same.
    • 77 Metascore
    • 80 Critic Score
    Keeping Up Appearances
    Patrick is found confronting familiar ideas of inner contentment alongside upbeat surface shine on this bittersweet work - full of charm and integrity
    • 76 Metascore
    • 90 Critic Score
    Sorry for the Late Reply
    ‘Sorry For The Late Reply’ is an album that’s taken the playful spark of their debut and refined it into a bolder beast.
    • 83 Metascore
    • 80 Critic Score
    Likewise
    It’s all effortlessly pulled together by Frances’ distinctive and enthralling vocals.
    • 78 Metascore
    • 70 Critic Score
    I Was Born Swimming
    There’s a real sense of space, Squirrel Flower already showing herself to be an artist comfortable in her own skin. They aren’t all hushed ballads though, the instrumentation even verges on grungy at times, but make no mistake, there’s an absolute flow here. An accomplished first full-length.
    • 70 Metascore
    • 80 Critic Score
    When We Stay Alive
    ‘Feel Life’ and ‘Steady’ resolve this darkness, both euphoric and knowing - and beautiful sonically - while ‘Blood Moon’ addresses feeling disappointed in yourself, and what you need to do to push through and make things right. ‘When We Stay Alive’ is emotionally raw, elegantly presented and at many parts a real tear-jerker. Wonderful stuff.
    • 73 Metascore
    • 80 Critic Score
    High Road
    Overall, ’High Road’ is an overwhelmingly triumphant pop offering that sees Kesha back at her best and having shit tons of fun while doing it.
    • 77 Metascore
    • 80 Critic Score
    Silver Tongue
    Re-emerging with off the grid mystique, Torres retains the grit of past efforts while doubling down on off-kilter charisma, securing a slick slice of alt-pop; her most complete and consistent yet.
    • 80 Metascore
    • 60 Critic Score
    Have We Met
    His outlook on the world is no happier than it was before, but the lack of a bigger band brings out a fresher sound in the Destroyer canon. It loses some energy in that regard, especially compared to the magnificent ‘Kaputt’, but it does show that, with 13 albums under his belt, Bejar still has plenty to say and even more fantastical ways to say it.
    • 74 Metascore
    • 80 Critic Score
    Mystic Familiar
    He’s decided to take things a little slower, in the process creating his best, and perhaps most coherent, album to date.
    • 61 Metascore
    • 40 Critic Score
    Power
    While never the strongest lyricist, ‘Power’ sees vocalist/guitarist Sam McTrusty roll out an unending series of lines that are overt to the point of self-suffocation. ... ‘Messiah’ and closer ‘Praise Me’ are stronger cuts, though as with much of ‘Power’, they’re unfortunately lost amongst the plethora of untidy songwriting on show.
    • 80 Metascore
    • 70 Critic Score
    Mind Hive
    Wire have proven that it’s possible to stretch possibilities through the introduction of outside influence. Youngsters take note, the past can be your friend.
    • 65 Metascore
    • 80 Critic Score
    R.Y.C.
    Gone are the house influences that underpinned his 2016 debut, and in are scratchy demo-sounding guitars, crisp production and gorgeous flourishes of string arrangements. House still lives on in some of the beat arrangements, although it’s presented through more natural-sounding drums which, when stacked against the lo-fi instrumentals, births something fresh and inspired.
    • 73 Metascore
    • 60 Critic Score
    There Is No Year
    The album blossoms when his delivery matches the tone of the music.
    • 75 Metascore
    • 80 Critic Score
    Deleter
    Deleter successfully blurs boundaries between time and space while gifting the listener with the unexpected opportunity for a total sonic catharsis.
    • 80 Metascore
    • 70 Critic Score
    X: The Godless Void and Other Stories
    ‘Children of the Sky’ and ‘Gravity’ both prove that its possible for the duo to summon up genuine atmosphere without bogging down the songs with overcooked compositions. There’s still the odd experimental misstep - the meandering ‘Eyes of the Overworld’ in particular - but for the most part, ‘X…’ is endearingly light on its feet in a manner that suggests a real rejuvenation in Conrad and Jason’s creative partnership.
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