DIY Magazine's Scores

  • Music
For 1,166 reviews, this publication has graded:
  • 53% higher than the average critic
  • 4% same as the average critic
  • 43% lower than the average critic
On average, this publication grades 1.9 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 Do It Again
Lowest review score: 20 Let It Reign
Score distribution:
  1. Negative: 8 out of 1166
1,166 music reviews
    • 62 Metascore
    • 50 Critic Score
    There's a lack of progression from previous albums that makes Heavy Mood a bit of a disappointment.
    • 72 Metascore
    • 50 Critic Score
    The range of influences on the album ensures this is a rather uneven listen, unhelped by the cast of vocalists.
    • 80 Metascore
    • 50 Critic Score
    This is an album that sounds like it could've been recorded at any point in the last thirty-odd years.
    • 67 Metascore
    • 50 Critic Score
    They're drifting between The Killers and Two Door Cinema Club in a sea of meaningless tunes with no depth whatsoever.
    • 67 Metascore
    • 50 Critic Score
    'Out Of The Black' represents that failure [to push their sound forward].
    • 68 Metascore
    • 50 Critic Score
    A patchy debut effort.
    • 54 Metascore
    • 50 Critic Score
    'Look To The Sky' sees him returning to the spotlight with an album that only fleetingly hints at his past glories.
    • 62 Metascore
    • 50 Critic Score
    A more succinct approach to these re-assembled works would have done wonders, though as it stands leaves these ten tracks merely as a curiosity for long-standing Mogwai fans only.
    • 64 Metascore
    • 50 Critic Score
    The beauty lies in the flaws, the imperfections, and A Long Way To Fall is way too immersed in picture perfect punctiliousness for this to make any lasting impression.
    • 77 Metascore
    • 50 Critic Score
    This is a record which will no doubt appeal to long-term fans of the band as it revels in the same sonic territory as their previous output, and it works as a party-starting soundtrack with its simple lyrics and vitality, but there's a distinct lack of any real depth or enterprise.
    • 75 Metascore
    • 50 Critic Score
    Theatrical, over-blown, and just a little contrived, any promise of real substance sadly seems to fade after the first four tracks, and never quite returns.
    • 67 Metascore
    • 50 Critic Score
    Javelin's sense of ambition is certainly commendable, and despite its shortcomings, Hi Beams still provides some examples of dizzyingly odd pop.
    • 65 Metascore
    • 50 Critic Score
    Specter At The Feast runs out of steam before it runs out of songs. Not a terrible album, just one lacking in inspiration.
    • 67 Metascore
    • 50 Critic Score
    All in all, it's interesting but frustrating in equal measures, however it is sure to please fans who know what they're in for.
    • 55 Metascore
    • 50 Critic Score
    For those open to more electronic sounds, this will likely be a great release and to those who are dubious of change, the band have accounted for that with a handful of numbers that more or less embody their established sound.
    • 66 Metascore
    • 50 Critic Score
    As a whole, it feels slightly temporary and detached, largely thanks to its uneven pacing and experimental streak.
    • 76 Metascore
    • 50 Critic Score
    The reality though is that your ability to get on board with this record will depend more or less entirely on how you feel about its lyrical content.
    • 75 Metascore
    • 50 Critic Score
    For all of the frontman's dynamism, he can't save a frustratingly slow, out-of-date computer.
    • 75 Metascore
    • 50 Critic Score
    CocoRosie certainly revel in their unorthodoxy but this doesn’t always make for enjoyable listening; perhaps if their Tales Of A Grasswidow knew how to breathe, their macabre hymns might pack a little more pluck.
    • 65 Metascore
    • 50 Critic Score
    So while there's nothing vastly wrong with From The Hills Below The City, there's also nothing vastly right.
    • 71 Metascore
    • 50 Critic Score
    The irony is that perhaps in trying to grow old a little too gracefully Jimmy Eat World have lost some of the youthful exuberance that so endeared them to us in those heady days around the turn of the millennia.
    • 80 Metascore
    • 50 Critic Score
    This debut feels far too uncoordinated, un-moderated and incoherent to do more than dazzle and confuse in equal proportions before leaving the listener to make sense of what just happened.
    • 49 Metascore
    • 50 Critic Score
    Musically confused, frequently lyrically painful (closer ‘Erotic Letter’ needs to be heard to be believed), its ego is so overpowering it ends up as a sweet relief against a backdrop of po-faced, fence sitting peers.
    • 73 Metascore
    • 50 Critic Score
    In many ways Perpetual Surrender is the average British weather forecast; patchy, dull and cloudy with occasional sunny spells. Room for improvement.
    • 80 Metascore
    • 50 Critic Score
    A lot of the time Warp & Weft is just very slow, and whilst there are a couple of earworms to be turned up here and there, it's mostly pretty stodgy.
    • 70 Metascore
    • 50 Critic Score
    Uninspiring, unexciting, largely forgettable--this is nothing more than Kings of Leon by numbers.
    • 60 Metascore
    • 50 Critic Score
    Where other works were distinctive and refined, These Spirits feels confused and clunky.
    • 78 Metascore
    • 40 Critic Score
    Ex Lives just sounds like a band going through the motions.
    • 71 Metascore
    • 40 Critic Score
    Featuring some fairly rudimentary drumming, and predictable solos, this is the musical equivalent of 'painting-by-numbers'.
    • 58 Metascore
    • 40 Critic Score
    As loud and aggressive Flats can sound it can't come close to hiding a lack of pretty much everything other than extreme volume and misplaced nothing-better-to-do-than-have-a-go-at-everyone-else small-minded aggression.
    • 72 Metascore
    • 40 Critic Score
    'There's No Leaving Now' in fact resonates like the stark antithesis to Jeffrey Lewis' wry, comical anti-folk. It's dreary as hell.
    • 64 Metascore
    • 40 Critic Score
    A passable if disappointing montage of mid-tempo electro-pop that flirts dangerously close to dull trip-hop.
    • 72 Metascore
    • 40 Critic Score
    'Mauve' isn't a bad album. It's competently made, it's mixed pretty well. It's done well. But it's been done before, and better.
    • 59 Metascore
    • 40 Critic Score
    This is a confused mess of a record, with nonsensical lyrics, trite musical clichés, and not a lot else.
    • 76 Metascore
    • 40 Critic Score
    There's little doubt that Mudhoney intend this to be an obtuse, difficult listen--the lyrical allusions to GG Allin certainly suggest as much--but its lackadaisical approach leaves it feeling toothless rather than effortlessly cool.
    • 72 Metascore
    • 40 Critic Score
    On the whole, the album makes for difficult listening and it's hard to engage with.
    • 64 Metascore
    • 40 Critic Score
    The nods to Spiritualized and My Bloody Valentine are still there, but the world has moved on since then, and unfortunately, it feels like Maps is still stuck in 2007.
    • 77 Metascore
    • 40 Critic Score
    Disjointed rather than bad; there's undoubtedly a cross-section for which the not-quite-post-punk, not-quite-shoegaze combination works. Let's hope they find it.
    • 78 Metascore
    • 40 Critic Score
    The Silver Gymnasium lacks some of whatever it was that made previous albums like 'Black Sheep Boy' and 'The Stage Names' so special.
    • 67 Metascore
    • 40 Critic Score
    It's almost as if the songs were constructed by way of algorithm.
    • 57 Metascore
    • 40 Critic Score
    Not a lot on Spreading Rumours makes sense. It doesn't match, even in its apparent desperate attempt to sound like the bargain bin of an Urban Outfitters.
    • 70 Metascore
    • 40 Critic Score
    Despite opener 'Shape' being a colossal Bjork channelling beauty that comes close to breaking point, the bulk of Interiors is restless but unassuming.
    • 72 Metascore
    • 40 Critic Score
    For a group whose best moments are when they teeter on just about every edge imaginable, it's just... boring.
    • 63 Metascore
    • 40 Critic Score
    By trying to make them sound something they're not, the end effect falls far short.
    • 75 Metascore
    • 40 Critic Score
    This latest effort is not without its merits but is fundamentally too long, whilst its interludes are a cheap, unnecessary annoyance.
    • 72 Metascore
    • 40 Critic Score
    Undoubtedly there’s riches to be found here but the treasure map is harder to follow than ever.
    • 60 Metascore
    • 40 Critic Score
    With all the various guest vocals, Pick A Piper's multi-narrative structure is a little problematic.
    • 56 Metascore
    • 40 Critic Score
    If a little more time been spent focusing on the increased R&B influence, Tranquilizers could've been the rejuvenation chillwave deserves.
    • 75 Metascore
    • 40 Critic Score
    The band has honourable aims with its vocal intent and concept, but fails to inspire with its content, nor deliver on its promises.
    • 64 Metascore
    • 40 Critic Score
    The material on Keel Her is probably best enjoyed one by one--17 tracks at once is a bit much.
    • 64 Metascore
    • 40 Critic Score
    With a few forgettable songs and seemingly overcrowded moments, Lo-Fang's debut falls short--acting as more of a promise of what's to come, rather than a thrilling introduction.
    • 71 Metascore
    • 40 Critic Score
    At best, it's eccentricity gone wild--there's no shortage of weird noises creeping in throughout--and at worst, just confusing.
    • 58 Metascore
    • 40 Critic Score
    This is an album that suffers from having altogether too much surface and not nearly enough substance.
    • 71 Metascore
    • 40 Critic Score
    Though the writing is clever and at times funny, the whininess and constant soul-searching shuts the audience out, and anyone deciding to stay is bludgeoned again and again with his relentless wet sentimentality.
    • 74 Metascore
    • 40 Critic Score
    There are basically no odd turns here, no tangents into unexpected territory and certainly nothing at will make you spin your head round for a second glimpse. That being said, it fulfils its remit with consummate ease and you'd be hard pressed to say it's unenjoyable.
    • 68 Metascore
    • 40 Critic Score
    All things considered Chuck Inglish hasn’t offered enough that’s new or high quality enough to truly make a mark.
    • 66 Metascore
    • 40 Critic Score
    If Japanther focused more on their punk rock sensibilities and honed in on their talent for hook-infested pop songs, rather than trying to clean up their act, then they’d be far better off for it.
    • 75 Metascore
    • 40 Critic Score
    What we have is quite ironically, a record lacking both direction and colour.
    • 62 Metascore
    • 40 Critic Score
    Ultimately Someday World is undeniably disappointing. For something that promised so much and to deliver so woefully little is an injustice to each respective side of the partnership.
    • 69 Metascore
    • 40 Critic Score
    Without close inspection, without consistent rotation it does every bit as good a job at sounding fast and heavy as anyone could be expected to. It’s just hard to know what makes it Creative Adult and what, despite shouting so very loud, it wants to actually say.
    • 74 Metascore
    • 40 Critic Score
    It's simply too mired in experimentation to make for an enjoyable or enlightening experience.
    • 59 Metascore
    • 40 Critic Score
    After an ‘Our Version of Events’-worthy build, it’s crying out for something slightly off-kilter to douse the saccharine overload, but instead shoots for a bounding chorus of ‘Rather Be’-proportions, which misses in favour of something that can only be described as 90s dance clunk.
    • 64 Metascore
    • 40 Critic Score
    The majority of the record is just not memorable enough.
    • 68 Metascore
    • 40 Critic Score
    Kyla La Grange still has a voice you want to listen to, but two albums in, it seems like she’s still searching for the best music to set it to.
    • 67 Metascore
    • 40 Critic Score
    House of Spirits is a half-success, showing promise and ambition but lacking both the direction and the songs to be anything but a minor addition to the band’s catalogue.
    • 65 Metascore
    • 40 Critic Score
    Intimate and involving doesn’t necessarily mean that the record is engaging, however, and some tracks wash over without an impression, ultimately making this feel like little more than an indulgent side-project.
    • 62 Metascore
    • 40 Critic Score
    The issue with 48:13 is that it’s actually a fairly routine-sounding Kasabian record.
    • 78 Metascore
    • 40 Critic Score
    Whilst the majority of the album is technically admirable for what it does achieve, it is also frustratingly slow going at times.
    • 71 Metascore
    • 40 Critic Score
    On paper, Junto (Spanish for ‘together’) should make for an eclectic, flag-waving affair--but sadly many of its disparate parts blissfully miss the mark.
    • 62 Metascore
    • 40 Critic Score
    While diverse in places and interesting at its best, Albumin is disappointingly underpinned by the singular drone of fairly dull, generic rock.
    • 73 Metascore
    • 40 Critic Score
    As an album it’s guilty of being simply too cold and distancing to be able to connect to.
    • 61 Metascore
    • 40 Critic Score
    Encyclopedia is the sound of The Drums trying to find their feet once again, an endeavour not yet fully accomplished.
    • 75 Metascore
    • 40 Critic Score
    The vocals are rather Thurston, too, like a chain-smoking Scrappy Doo, and structurally each song on The Best Day follows a specifically Thurstony pattern; all shimmery build-ups and thrashing bar chords, and deadpan vocals thudding solemnly along the top of it all.
    • 68 Metascore
    • 40 Critic Score
    His sophomore full-length is at times uninspired and leaves an emptiness in the gut.
    • 75 Metascore
    • 40 Critic Score
    A record that needs its fat well and truly trimming.
    • 66 Metascore
    • 40 Critic Score
    The Dream Walker comes laced with the feeling that, of all the various multimedia forms that make up the Angels & Airwaves project, it’s sadly the music that is the weakest link.
    • 89 Metascore
    • 40 Critic Score
    Enter Shikari have made their mark with a hybrid theory of conflicting ideas but, unsure where they sit between Rage Against The Machine and Radiohead, it lacks real conviction.
    • 65 Metascore
    • 40 Critic Score
    Transfixiation, named appropriately, demands a trance-like attention across its duration, but very little sticks once the ride is over.
    • 51 Metascore
    • 40 Critic Score
    There are moments on Coming Up For Air that lay claim to a genuine force, the kind who’ve earned their Chris Martin-endorsed stripes. They’re yet to truly claim their own territory, though, and any attempts to reinvent the wheel fall flat with an almighty thud
    • 75 Metascore
    • 40 Critic Score
    The apex of which Moon Duo head towards on The Shadow of the Sun isn’t reached and seemingly it burns out before entering a new atmosphere
    • 61 Metascore
    • 40 Critic Score
    For an album which features a list of impressive producers, it feels though one of them should have worked on the album as a whole to give Soft Control cohesion and the platform for Welsh to jump from.
    • 72 Metascore
    • 40 Critic Score
    For the majority of tracks, they succeed in their goals. It’s only when looking back at the whole picture, somehow the pieces don’t quite appear to fit.
    • 79 Metascore
    • 40 Critic Score
    Overall Beat the Champ will no doubt prove a hit with die-hard Mountain Goats fans, however as a standalone album it lacks a coherent sound.
    • 58 Metascore
    • 40 Critic Score
    Glitterbug is a tired album that lacks invention and makes the landfill indie tag even easier to attribute.
    • 63 Metascore
    • 40 Critic Score
    Fretboard noodling far outweighs any emotional or intellectual potency, and Heirs continues to leave ASIWYFA stuck between a rock solid live show and a hard-to-place recorded direction.
    • 62 Metascore
    • 40 Critic Score
    Something that gradually becomes clear is that this is an album of uncertainty.
    • 67 Metascore
    • 40 Critic Score
    Perhaps it’s even a more accessible album for smoothing off the edges and toning down the vitriol, but it’s also largely forgettable in a way that Frank Turner’s best could never be accused of.