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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    • 80 Metascore
    • 60 Critic Score
    The Ooz
    That’s definitely not to say that the more languorous tracks don’t have their beautiful moments, with the likes of ‘Lonely Blue’ and ‘Sublunary’ providing an emotional apex to the album. As it draws on though, it gets easier to think that a bit of brutality on the cutting room floor might only have been of benefit to The Ooz.
    • 72 Metascore
    • 80 Critic Score
    Colors
    Colors is Beck at his most exuberant, concocting weird, wonderful dancefloor fillers like a mad disco scientist. Good things come to those who wait.
    • 70 Metascore
    • 80 Critic Score
    Ogilala
    Much of his recent work remains underrated, but by ‘Monuments…’, he was beginning to sound a little short on ideas; happily, the simplicity of Ogilala seems as if it’s rejuvenated him.
    • 88 Metascore
    • 100 Critic Score
    Masseduction
    Along with the equally exceptional St Vincent which came before it, this is the moment that St Vincent enters the fabled realm reserved for the greats.
    • 75 Metascore
    • 80 Critic Score
    Wide Open
    Leaner, more menacing, but still quintessentially Weaves, Wide Open does what it says on the tin, in the best possible way.
    • 80 Metascore
    • 80 Critic Score
    I Love You Like a Brother
    I Love You Like My Brother builds all sorts of these clean bridges, and though Alex Lahey’s world springs from small images and clean sentences, it says a lot with very little.
    • 62 Metascore
    • 60 Critic Score
    Realisationship
    Realisationship might not always come together neatly, but Andrew Hung’s desire to push his own boundaries, whether that’s moving into that lo-fi zone or utilising his vocals, leaves you wondering just where he’ll turn n
    • 76 Metascore
    • 80 Critic Score
    Willowbank
    Willowbank is utterly charming, shimmering and another step in Yumi Zouma’s quietly fascinating evolution.
    • 82 Metascore
    • 60 Critic Score
    Cry Cry Cry
    If Wolf Parade have spent six years wondering how they can sing about anything at all, it seems as though they’re still wondering. Just this time the quartet turned the mic on as they pondered.
    • 71 Metascore
    • 60 Critic Score
    As You Were
    ‘You Better Run’, while perfectly adequate, has the aura of ‘pub back room’ to its chugging riffs; it’s fine, but it’s largely filler. In general though, As You Were is almost certainly the best thing Liam’s offered us since he parted ways with his big bro.
    • 66 Metascore
    • 60 Critic Score
    Fatherland
    Kudos for another reinvention, but the best version of Kele probably sits nearer the middle of the spectrum.
    • 84 Metascore
    • 60 Critic Score
    Take Me Apart
    On the likes of ‘Enough,’ the layers of electronica and muffled beats become oddly oppressive, competing against her--and winning the battle. It’s in moments like this where Take Me Apart proves to be frustrating. When it’s at its best though, it’s an album that invites the listener to do just what its title invites.
    • 72 Metascore
    • 80 Critic Score
    Jersey Devil
    Jersey Devil comes with a real sense of sharp focus; cleverly worked melodies and handsomely crafted choruses come to the fore, pushing the woozy soundscapes to the back.
    • 77 Metascore
    • 80 Critic Score
    As You Please
    Citizen haven’t mellowed per se, the emotion on ‘As You Please’ is as grand and raw as ever, but they have refined their delivery, and their latest album manages not to shortchange that underlying sentiment while expanding their sonic palette.
    • 61 Metascore
    • 40 Critic Score
    Desire
    Desire’s best moments arrive when there’s a genuine attempt to create a bit of atmosphere--the cool strut of ‘Spotlights’ is a rare bright point. Everything else, though, has been done better elsewhere, and recently, too.
    • 80 Metascore
    • 60 Critic Score
    I Tell a Fly
    It’s not an immediate album, but give a little time for the scattershot approach to sink in and moments of genius gradually reveal themselves.
    • 79 Metascore
    • 80 Critic Score
    Three Futures
    It touches the heart and head with its examinations of love, lust and desire, and while it’s sometimes still a challenging listen, it’s easy to indulge in.
    • 85 Metascore
    • 80 Critic Score
    Relatives in Descent
    A dystopian, focused pessimism that sounds (unfortunately) exactly like the world outside, but doesn’t sound quite like another band on the planet. A perfect soundtrack to nagging doubts and creeping realisations.
    • 81 Metascore
    • 100 Critic Score
    Visions of a Life
    There’s no difficult second album syndrome here. Visions Of A Life is a gorgeously twisted beast that keeps Wolf Alice on the path to being Britain’s best band.
    • 87 Metascore
    • 80 Critic Score
    V
    Five albums in and The Horrors have obviously found a new lease of life. This V is for victorious.
    • 73 Metascore
    • 60 Critic Score
    Fool's Paradise
    Ultimately, it feels as if she’s still waiting for her words and her sound to match up, but what we’ve got in the meantime is an intriguingly personal record.
    • 78 Metascore
    • 80 Critic Score
    Strange Peace
    Strange Peace is more--more intense, more melodic, more brutal, more confident.
    • 82 Metascore
    • 80 Critic Score
    Stranger in the Alps
    Stranger in the Alps is as accomplished a solo debut as you’ll hear all year--a quietly devastating listen worthy of Phoebe Bridgers’ obvious influences.
    • 62 Metascore
    • 60 Critic Score
    Haiku from Zero
    Tthey continually hit the sweet spot between the dance floor and sweaty indie venue. Songs overflow with ideas and, as the title suggests, they manage to plot a path through them all, finding something poetic amid all the excess.
    • 66 Metascore
    • 60 Critic Score
    BRVNX (V)
    V will go down a storm with committed Bronx fans, but is curiously subdued in places--which, in the current climate, feels like a little bit of an opportunity missed.
    • 71 Metascore
    • 80 Critic Score
    Wonderful Wonderful
    An album without an obvious theme or concept it may be, but somehow, it’s still quintessentially The Killers. It may not be the all-out stadium epic we’ve come to expect from the band but it’s still wonderful (wonderful).
    • 77 Metascore
    • 100 Critic Score
    Try Not To Freak Out
    Handling pop punch with the same rightful care as punk rebellion, Sløtface aren’t indebted to any of their touchstones. Instead they’re mashing them to new, distinctive effect.
    • 72 Metascore
    • 60 Critic Score
    Concrete and Gold
    Foo Fighters’ ninth is, then, more interesting than one might’ve expected.
    • 54 Metascore
    • 40 Critic Score
    Prophets of Rage
    Forget the fact that even at its best moments the album still kind of sounds like a RATM reunion minus Zack de la Rocha, the biggest issue with ‘Prophets Of Rage’ is that it’s not as radical as it thinks it is. Is it competent and confident, energised and engaging? Sure. But there’s nothing new here.
    • 75 Metascore
    • 60 Critic Score
    Choir of the Mind
    This occasional, kind of ironic lack of restraint makes some of the blackened themes of Choir of the Mind even more oddly oppressive, even if Emily’s melodies are often spacious and airy. When it gets its balance perfectly poised though, it’s an album that can be engaging and emotionally-charged.
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