DIY Magazine's Scores

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For 3,087 reviews, this publication has graded:
  • 54% higher than the average critic
  • 4% same as the average critic
  • 42% lower than the average critic
On average, this publication grades 0.1 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Not to Disappear
Lowest review score: 20 Let It Reign
Score distribution:
  1. Positive: 2,183 out of 3087
  2. Mixed: 891 out of 3087
  3. Negative: 13 out of 3087
3087 music reviews
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    • 77 Metascore
    • 60 Critic Score
    Tasmania
    While it’s about as colourful as the phantasmagoric cover art suggests, it might have sounded a bit more grounded if the band weren’t given the keys to so many synthesisers and effects pedals - and Kevin Parker’s heady production only makes it even woozier. Beneath all the superfluous sonic meddling, though, it’s still a voyage worth beholding.
    • 71 Metascore
    • 60 Critic Score
    Good Fruit
    TEEN’s sonic approach is chaotically diverse throughout and this very much feels like an album of two halves; when it captures the alienation and isolation it strives for, though, it soars.
    • 53 Metascore
    • 60 Critic Score
    Weezer [Black Album]
    It’s a great--albeit mis-matched--collection of songs.
    • 68 Metascore
    • 60 Critic Score
    Strange Creatures
    Strange Creatures limps and sags habitually, never quite succumbing to Drenge’s wishful potential and ruthless attempts at crafting the idyllic garage-rock their previous releases showcased. It’s a shame when the promise never quite delivers.
    • 60 Metascore
    • 40 Critic Score
    Beat My Distance
    It’s pleasant, and there are intriguing touches to be found in the Jacco Gardner-esque keys of ‘On Your Own’, but there’s an intrinsically grating quality that’s hard to shake.
    • 75 Metascore
    • 60 Critic Score
    Cast
    It’s dark, atmospheric and shoegazey--and as a sonic canvas it works well. But several of the songs struggle to say anything that’s not already been said elsewhere on the album.
    • 75 Metascore
    • 60 Critic Score
    Unfurl
    RY X is a talented guy with a singular vision, but Unfurl's title is misleading--it’s a little too tentative to have fully done so.
    • 62 Metascore
    • 60 Critic Score
    Don't Feed the Pop Monster
    Despite their identity being so closely interwoven with synth-pop, some of the more striking tracks here see Broods moving away from the keyboard, and reverting to more traditional instrumentation.
    • 77 Metascore
    • 60 Critic Score
    Olympic Girls
    Olympic Girls is Tiny Ruins diversifying their sound and, in the process, unlocking something new and palpable. Simply by moving further out, they start to let us in.
    • 66 Metascore
    • 60 Critic Score
    Careful You
    All the right ingredients are there, but the recorded format makes it fall short it from becoming a flowing, cohesive album.
    • 79 Metascore
    • 60 Critic Score
    Five
    Five feels like an exercise in softness of touch, maybe the most reserved White Lies album to date; there’s less bite than usual in Harry McVeigh’s vocals, and where previously the guitars would be spiky and nudge towards post-punk, there’s languid, melodic riffs on the likes of ‘Finish Line’ and ‘Denial’.
    • 75 Metascore
    • 60 Critic Score
    Stuffed & Ready
    While not a record that’s likely to raise their star, Stuffed & Ready is one that shows a band resolutely ploughing their own furrow without compromise.
    • 75 Metascore
    • 60 Critic Score
    Gallipoli
    There’s a gorgeous familiarity to the record, but it’s also one peppered with adventure.
    • 74 Metascore
    • 60 Critic Score
    What Chaos Is Imaginary
    Whereas their earlier tracks were more simple, now their music is a multidimensional, multi-faceted affair, full of fragile introspection and meandering guitars.
    • 69 Metascore
    • 60 Critic Score
    Internationally Unknown
    Rat Boy works best on this record not giving the fans what they want--but something new.
    • 72 Metascore
    • 60 Critic Score
    Outer Peace
    A transitional work perhaps, but whichever fork in the road he follows next, you feel he’ll continue to adapt.
    • 79 Metascore
    • 60 Critic Score
    The Unseen In Between
    It’s not a record that jumps out on the first listen, but The Unseen In Between works as an effective relaxant.
    • 79 Metascore
    • 60 Critic Score
    You Tell Me
    There isn’t much range across the record; the last few tracks merge into one. Which is disappointing given Peter’s track record for one, but overall there are plenty of highs and the downsides should be sorted by the next installment.
    • 65 Metascore
    • 60 Critic Score
    Shiny and Oh So Bright, Vol. 1: No Past. No Future. No Sun
    There’s not much in the way of stylistic cohesion, either, and you wonder whether that’s simply because the creativity was flowing out of the almost-fully-reformed lineup or simply because Billy felt confident in following his every whim.
    • 59 Metascore
    • 40 Critic Score
    Delta
    At this point Mumford & Sons know exactly what they have to do to keep the Spotify streams rolling over, and Delta feels like an exercise in box-ticking, no more, no less.
    • 63 Metascore
    • 60 Critic Score
    Simulation Theory
    Take a step back from the ins and outs of the record and Simulation Theory stands as a ridiculous, bombastic stab of maximalism from one of the world’s biggest stadium rock bands.
    • 61 Metascore
    • 60 Critic Score
    Diagrams
    Paul’s commitment to trying new things is to be lauded, but it does mean Diagrams lacks cohesion; it feels less an album and more a collection of ideas, some thrilling, others less so.
    • 66 Metascore
    • 60 Critic Score
    No Tourists
    At times, No Tourists feels like a companion to their debut. That was the night out and this is the morning after’s hangover. While this isn’t vintage Prodigy, it gets pretty damn close and gives hope there is still life in the old dog yet.
    • 81 Metascore
    • 60 Critic Score
    Yawn
    Individually the likes of ‘Time Will Be The Only Saviour’, with its creeping strings and weighty sorrow, or the Rizzo-quoting ‘There Are Worse Things I Could Do’, are tender, sad things, but as a whole piece, Yawn can wind up a claustrophobic listen.
    • 66 Metascore
    • 60 Critic Score
    IC-01 Hanoi
    ‘Hanoi 4’ is a driving, groove-led funk workout, while ‘Hanoi 5’ pits all kind of warped gurgles against a nocturnal jazz saxophone. They’re stranger, more direct beasts without the foil of Ruban’s soft vocal and often all the more ominous for it.
    • 83 Metascore
    • 60 Critic Score
    Saturn
    Despite the album’s beginning in confusion, Saturn sounds genuinely uplifting throughout with her impressive vocal range being the focal point.
    • 83 Metascore
    • 60 Critic Score
    Aviary
    Unusual yet distinctive, Aviary may alienate some but you can’t fault the depth of Julia’s grand vision for her work.
    • 79 Metascore
    • 60 Critic Score
    La Maison Noir/The Black House
    The opening three numbers shine, showing a refreshing sound bursting at the seams with positivity, but the lack of variety means that, by the end, you may feel slightly bludgeoned by it all.
    • 77 Metascore
    • 40 Critic Score
    I Don’t Want: The Gold Fire Sessions
    Iit feels like a natural extension from what’s come before rather than a bold move forward, but you can tell Santigold had fun making it all the same.
    • 78 Metascore
    • 60 Critic Score
    Bottle It In
    Kurt takes a leaf out of Courtney’s book and wears his heart on his sleeve, searching for introspection and delving into his deepest and most personal lyrics to date--about love, loss and everything in between.
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