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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    • 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.
    • 75 Metascore
    • 60 Critic Score
    Million Dollars To Kill Me
    Barry Johnson’s vocals remain huge, and riffs are still catchy, but in trying to expand their palate, their identity might just be starting to slip.
    • 75 Metascore
    • 60 Critic Score
    EXPO
    ‘EXPO’ is not quite Charlie Brooker in song, but it’s not too far off. Fully immersive but a little disquieting.
    • 59 Metascore
    • 60 Critic Score
    Like All Before You
    In isolation, there’s a lot to enjoy among these tracks, but together, ‘Like All Before You’ requires a lot of listens and maybe a couple of aspirin to translate.
    • 77 Metascore
    • 60 Critic Score
    Typhoons
    ‘Typhoons’ occasionally misses the mark: the space created by the pair’s more chilled sonic approach isn’t filled. The songs here may be more melodic, more complex even on paper, but in reality there’s little there to truly grab hold of.
    • 59 Metascore
    • 60 Critic Score
    Black Yaya
    While mellow and downbeat at times, the subtle happiness could have been made more evident from the inclusion of ‘Paint A Smile On Me’.
    • 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.
    • 81 Metascore
    • 60 Critic Score
    Heart like a Levee
    While so many albums today are front-loaded, this one saves many of its treasures for the final stretch, ending on a high with ‘Highland Grace’, an appropriately elegiac closer euphoric horns and vocals.
    • 75 Metascore
    • 60 Critic Score
    II
    It’s not trance, it’s not electro, it’s not quite orchestral--it’s not quite anything. They are a band with good ideas but unsteady appeal.
    • 79 Metascore
    • 60 Critic Score
    Sorpresa Familia
    It’s punk music with the intelligence of wizened old jazz musicians, and as a chronicle of the band’s hardships, it’s a much-welcome return.
    • 78 Metascore
    • 60 Critic Score
    Cala
    It’s difficult to shake the feeling that the likes of the upbeat ‘Brass Locket’ or the barely-there ‘Hunting Dog’ that this is territory Regan has already long since claimed, and that as good as he is at it, the law of diminishing returns is bound to kick in eventually. Instead, what we need more of is the likes of ‘Glaciers’, all implied menace and thick atmospherics.
    • 63 Metascore
    • 60 Critic Score
    Dark Black Makeup
    Less scrappy punk and more slick guitars, there’s an air of the Queens of the Stone Age about their debut, and it’s a sound they wear well.
    • 76 Metascore
    • 60 Critic Score
    Quiet River of Dust, Vol. 1
    Quiet River of Dust won’t be for everyone, but you can’t help but marvel at its ambition.
    • 74 Metascore
    • 60 Critic Score
    Event II
    Not everything works on an album that is perhaps slightly too long, however, there is a pleasing sense of ambition to Dan, The Automator’s symphonic productions, tinged with an old school flavour.
    • 66 Metascore
    • 60 Critic Score
    Jackrabbit
    The improvements from the self-titled album can only be comprehensively taken in with a full listen of Jackrabbit, but using a second album to slowly build and improve an already vastly promising sound--instead of attempting an erratic reinvention--is something Ludwig-Leone should be commended for.
    • 78 Metascore
    • 60 Critic Score
    Sincerely, Future Pollution
    Sincerely, Future Pollution is in some ways a perfect representation of our conflicted, uncertain times, but it also makes the record a challenging, uncompromising listen.
    • 69 Metascore
    • 60 Critic Score
    Cutting Up the Present Leaks Out the Future
    An album which feels lovingly crafted, full of moments that only reveal themselves after multiple listens.
    • 66 Metascore
    • 60 Critic Score
    Arrows
    There are not enough personal elements on this album and too many invented ones. It's frustrating, too, because the honest snippets that occasionally poke through really shine.
    • 70 Metascore
    • 60 Critic Score
    Dungeonesse
    Ultimately though, there are too many times here where these tracks sound too contrived and calculated, a false approximation in place of the real thing.
    • 67 Metascore
    • 60 Critic Score
    Love Me/Love Me Not
    Honne’s crystalline, Mura Masa-esque beats will see them through--though only as easy-listening, nothing more.
    • 79 Metascore
    • 60 Critic Score
    Garden of Delete
    He may not be in our world completely yet but you should keep making the trip to his: it really is a trip.
    • 77 Metascore
    • 60 Critic Score
    Full Closure and No Details
    There’s a lot to like on Cohen’s debut, and plenty to suggest a follow-up could soar to far greater heights, but not enough to suggest a commercial breakthrough could be on the cards.
    • 59 Metascore
    • 60 Critic Score
    Collections
    Having been dogged with comparisons to Friendly Fires since their formation, it is ironic that this record perhaps sounds like the kind of misstep that the St. Albans band made themselves with their second album 'Pala'.
    • 89 Metascore
    • 60 Critic Score
    The Dusk in Us
    The Dusk in Us was whittled down to thirteen tracks from eighteen and there remains a little bit of extraneous material, particularly towards the album’s close, and that uneven pacing suggests a touch of rust after so long away--‘All We Love We Leave Behind’ felt more tightly controlled.
    • 68 Metascore
    • 60 Critic Score
    Last Night on Earth
    Last Night On Earth is filled with guitar licks that manage to sound ferocious and friendly at the same time, marrying a slightly avant-garde persuasion and tight focused songwriting with something instantly warming.
    • 69 Metascore
    • 60 Critic Score
    Ricky Music
    While this collection is his slickest, most watertight LP, it does little to push his sound or songwriting forward.
    • 66 Metascore
    • 60 Critic Score
    For Ever
    Jungle have largely played it safe here; the feelgood alt-funk of ‘Heavy, California’ could sit seamlessly alongside anything from their debut, while the ominous nocturnal strut of single ‘Happy Man’ is just ‘Busy Earnin” Mk II.
    • 82 Metascore
    • 60 Critic Score
    Oh No
    Oh No doesn’t quite signal a reinvention for Lanza, but a move towards one end of her capabilities, one which consistently brings excitement, energy and openings for new paths for her to head down.
    • 75 Metascore
    • 60 Critic Score
    Requiem
    Requiem is the furthest Goat have ventured in expansiveness and length. Despite that, Requium is their most accessible moment to date.
    • 80 Metascore
    • 60 Critic Score
    Junior
    Corridor evidently have ambitious eyes set on the grand and cinematic. The beautifully eerie closing ambient moments to ‘Goldie’, or the theatrical prettiness of ‘Milan’ convey a band of sophisticated vision, but certain reaches for the epic, such as the stodgy closer, ‘Bang’, suffer for their principals, sounding like half-baked version of Grizzly Bear. Often, it’s hard not to think that there’s something missing.
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