DIY Magazine's Scores

  • Music
For 1,918 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 1.8 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 Masseduction
Lowest review score: 20 Songs for Our Mothers
Score distribution:
  1. Negative: 9 out of 1918
1918 music reviews
    • 82 Metascore
    • 80 Critic Score
    The power gained from its creation can be felt in the way the band crash their way through its nine songs, and will undoubtedly also transmit to anyone who presses play.
    • 60 Metascore
    • 80 Critic Score
    For all their goth rock exterior, My Mind Makes Noises is ultimately a pop record with substance at its core.
    • 80 Metascore
    • 80 Critic Score
    The Goon Sax are at their best when asking questions and trying to work out their existential angst, rather than giving definitive answers.
    • 68 Metascore
    • 60 Critic Score
    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.
    • 79 Metascore
    • 60 Critic Score
    While not wholly consistent, Teleman’s third LP contains some of their best work yet.
    • 73 Metascore
    • 80 Critic Score
    Mothers have taken their tactics of constant instrumental juxtapositions into another realm, somehow finding a middle ground between the pleasant and the discordant, where Mothers have comfortably found their niche--it’s not always uplifting, but it consistently delivers.
    • 68 Metascore
    • 60 Critic Score
    Language could afford to lose a few numbers--particularly the low-energy likes of ‘Body’ and ‘Girlfriend’--but there’s more than enough evidence here that MNEK is a potent force in his own right.
    • 73 Metascore
    • 60 Critic Score
    This is an offshoot of Waxahatchee that may fail to bring in fans anew, but offers plenty for those wanting a return to Katie Crutchfield’s more acoustic roots.
    • 84 Metascore
    • 80 Critic Score
    This album only re-affirms his unique and inimitable talent.
    • 74 Metascore
    • 60 Critic Score
    hile ‘Back in Brazil’ is a tad baffling, ‘Caesar Rock’ doesn’t quite hit the right notes, and ‘People Want Peace’ feels a tad trite, even from one of the (probable) pioneers of the peace hand signal. Still, it’s hard to leave Egypt Station without a grin.
    • 75 Metascore
    • 80 Critic Score
    The result is that it all, somehow, sounds bizarrely natural. Landing in the unique middle ground between the ’70s warmth of Todd Rundgren (who lends guest vocals as Shane’s dad, of course) and Little Shop Of Horrors, Go To School is a genuine original.
    • 78 Metascore
    • 60 Critic Score
    While Dance on the Blacktop won’t mean everything to everyone, its considered construction, intriguing philosophising and plain old barbed-wire hooks mean it’s certain to mean everything to someone.
    • 85 Metascore
    • 60 Critic Score
    An album, according to Dev, about “black depression, black existence and the ongoing anxieties of queer / people of colour”, Negro Swan is a record that radiates these tensions; subtle and amorphous, it’s not the most immediate listen, but it’s undoubtedly one with real weight.
    • 75 Metascore
    • 80 Critic Score
    Depth is assured by some strong variations to the established formula.
    • 72 Metascore
    • 80 Critic Score
    It’s a heftier beast that still reaches all-guns-blazing crescendos like it’s no biggie, but for the most part is slower, louder, and easier to lose oneself in than its rapid-fire younger brother, resounding proof that Spring King are still on an upward trajectory with no signs of slowing.
    • 80 Metascore
    • 80 Critic Score
    A record both charming and bold, the dichotomy of upbeat indie-pop and brutally honest lyricism only adds to its appeal.
    • 67 Metascore
    • 60 Critic Score
    There’s plenty to discover here on a diverse record that takes a lot of interesting turns, and while there are some unsuccessful moments, there’s also plenty for indie-pop fans to get their teeth stuck into.
    • 84 Metascore
    • 60 Critic Score
    With its high concepts and bold instrumentals the album feels a little heavy at times, but you really can’t fault its ambition.
    • 70 Metascore
    • 60 Critic Score
    With just about enough sonic variation to keep things interesting, there’s a more pristine, altogether more polished feel to this collection of tracks no doubt the result of an artist who’s getting closer to refining their craft.
    • 72 Metascore
    • 60 Critic Score
    When so much of what Juanita had written for Until the Lights Fade clearly involves a folk-rock flavour, it’s a shame it wasn’t fleshed out accordingly.
    • 88 Metascore
    • 100 Critic Score
    Across its 40-odd minutes, Joy As An Act of Resistance makes you want to laugh and cry and roar into the wind and cradle your nearest and dearest. It is a beautiful slice of humanity delivered by a group of men whose vulnerability and heart has become a guiding light in the fog for an increasing community of fans who don’t just want, but need this.
    • 67 Metascore
    • 60 Critic Score
    Honne’s crystalline, Mura Masa-esque beats will see them through--though only as easy-listening, nothing more.
    • 70 Metascore
    • 60 Critic Score
    Invitation to Her’s is an occasionally jarring listen, thanks to its stylistic restlessness, but there’s enough substance behind the silliness to leave you feeling they’re following through on their early prom
    • 80 Metascore
    • 80 Critic Score
    Performance doesn’t necessarily take White Denim in a drastically different direction, but it captures so many of the different sides of the band’s multi-faceted sound that it feels expansive and wholesome.
    • 73 Metascore
    • 80 Critic Score
    ‘Stay In Touch’ is a hip-shaking highlight, and the one true surprise here, but largely Marauder simply sees Interpol proving their worth once again, and their prowess for creating bleak, blackened indie rock that’s full of feeling.
    • 73 Metascore
    • 80 Critic Score
    Trevor Powers has crafted an album full of malice and aggression that it lives up to its title, but it is peppered with themes of hope and optimism.
    • 67 Metascore
    • 80 Critic Score
    The Coral may have been at this game for nigh-on two decades but there’s scarcely a moment here that seems tired or phoned-in. Instead, the Wirral lads have added another fascinating work to their canon.
    • 77 Metascore
    • 80 Critic Score
    By keeping enough of the old--and allowing themselves the space to go a little heart-on-sleeve--their tales of 2010s disillusionment are a resounding success.
    • 84 Metascore
    • 80 Critic Score
    Singles ‘Level’ and ‘Being Around’ are given a new lick of paint, while newies ‘I Wish It Was Sunday - an invigorating thrash defined by screeching guitar solos - and closer ‘Boring’--a live favourite that sounds even more intense on record--show that Our Girl can more than hold their own across a full-length. It’s what’ll come next that we’re most excited about though.
    • 69 Metascore
    • 80 Critic Score
    Thank You for Today marks the stirring opening of a new chapter in this band’s already storied history.