DIY Magazine's Scores

  • Music
For 1,754 reviews, this publication has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% 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 II
Lowest review score: 20 Songs for Our Mothers
Score distribution:
  1. Negative: 9 out of 1754
1754 music reviews
    • 77 Metascore
    • 60 Critic Score
    There’s a deep hip hop pulse to many of the tracks, which sometimes transform themselves into jungle beats, usually accompanied by galactic synth stabs and waves of sound that transport the listener to a cosmic plane.
    • 73 Metascore
    • 60 Critic Score
    They may have left behind their haunted house roots, which might rub some people off the wrong way, but Chairlift have found themselves creating something far more barmy, bold and exhilarating than ever before.
    • 63 Metascore
    • 60 Critic Score
    You're left with an album that would be great fun live but needs reining on record.
    • 75 Metascore
    • 60 Critic Score
    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.
    • 78 Metascore
    • 60 Critic Score
    Loma Vista is a ultimately an immediately enjoyable, if easily forgettable album, far too one-sided for its own good, and more a showcase of a band who are capable of writing a handful of very good pop songs, but not an album worthy of any longevity.
    • 78 Metascore
    • 60 Critic Score
    The only thing holding the album, and the band, back from being outstanding is the lack of obtuse moments; as at points the piano/electronic drums/synth combo can wear a little thin.
    • 76 Metascore
    • 60 Critic Score
    They’ve taken the strengths of ‘Teen Dream’ and ‘Bloom’--reaching pop highs with ease--before being deceptive like it’s some kind of game. It’s not unfamiliar in the good sense, and it’s an odd outlier in an otherwise brilliant back-catalogue.
    • 73 Metascore
    • 60 Critic Score
    Too often, Disclosure find themselves playing it safe.
    • 66 Metascore
    • 60 Critic Score
    These huge, glorious, shining songs--are a step in the right direction.
    • 67 Metascore
    • 60 Critic Score
    Sure, it loses its way about two-thirds through via the meandering ‘Every Guy Wants To Be Her Baby’ and ‘Memories’, but there’s always the suggestion that it’s sort of the point.
    • 73 Metascore
    • 60 Critic Score
    It’s immensely enjoyable, but almost leaves a sense of guilt, because of how light-hearted it makes an attitude bordering on misanthropy seem.
    • 72 Metascore
    • 60 Critic Score
    The first half is exciting, accomplished and compelling--but then it wanders absent-mindedly into nondescript territory after the midway point and doesn't navigate its way back home.
    • 78 Metascore
    • 60 Critic Score
    As a starting point, So It Goes is a damn fine one.
    • 64 Metascore
    • 60 Critic Score
    There’s no doubt that the record’s production is second to none and Garratt’s talent is as obvious as an Uber driver’s Sat Nav, but his USP is somewhat dimmed by hours and hours of carefully chosen layers, vocals and everything else in between.
    • 60 Metascore
    • 60 Critic Score
    A thick as muck yet intelligent pop album.
    • 65 Metascore
    • 60 Critic Score
    There is a willful lack of originality on the album in so much as at times it has such a faithful synth-pop sound that you'd be forgiven for thinking it's a 1980s reissue.
    • 78 Metascore
    • 60 Critic Score
    A clear adoration for 90s bands doesn’t stop Return to Love from being an extremely strong album from 2016, and an undoubted step up.
    • 73 Metascore
    • 60 Critic Score
    There are occasional flashes of brilliance and inspiration here but for the most part it feels disjointed, a victim of 'too many cooks' syndrome and disappointingly conventional for an artist with such a proven track record for forward-thinking music.
    • 72 Metascore
    • 60 Critic Score
    Foo Fighters’ ninth is, then, more interesting than one might’ve expected.
    • 77 Metascore
    • 60 Critic Score
    The idea behind Quazarz is indeed fascinating, and could have been a unique way of talking about the modern social and political climate. Unfortunately, sometimes it feels like the quest for a particular vibe has sometimes been prioritised over the underlying message.
    • 75 Metascore
    • 60 Critic Score
    Ultimately, it is very, very hard to dislike Hour Of The Dawn.
    • 73 Metascore
    • 60 Critic Score
    His current tactic of quantity at the price of quality control does mean songs with less impact end up on record.
    • 74 Metascore
    • 60 Critic Score
    Two
    Ultimately, this is the sound of a group looking back at what they’ve achieved individually in order to get that chemistry churning again.
    • 57 Metascore
    • 60 Critic Score
    Slick production and a consistency in sound may make for easy listening but if you pay too much attention it all starts to sound a bit contrived and cheesy.
    • 73 Metascore
    • 60 Critic Score
    While opener ‘Name For You’ is catchy, and album highlight ‘Rubber Ballz’ is a foot-stomping earworm, Heartworms largely represents a loss of ambition.
    • 67 Metascore
    • 60 Critic Score
    Perhaps not perfect, but a recovery position from which Two Door Cinema Club look primed to soar once more.
    • 70 Metascore
    • 60 Critic Score
    An album which blurs the line between retro and futuristic techno, yet always with an analogue soul.
    • 70 Metascore
    • 60 Critic Score
    It is fair to say that the album is missing hooks; it is a difficult listen and the tracks’ sparseness renders them similar. But, when the sound is so spine-tinglingly moving, that’s not too much of a problem.
    • 67 Metascore
    • 60 Critic Score
    It may be easy to enjoy at the time, but this third full-length leaves no lasting impression.
    • 70 Metascore
    • 60 Critic Score
    There’s a decidedly different tone to proceedings. World Peace is None of Your Business feels infinitely more concise, and musically more defined.