musicOMH.com's Scores

  • Music
For 5,835 reviews, this publication has graded:
  • 60% higher than the average critic
  • 4% same as the average critic
  • 36% lower than the average critic
On average, this publication grades 0.6 points higher than other critics. (0-100 point scale)
Average Music review score: 73
Highest review score: 100 Prioritise Pleasure
Lowest review score: 0 Fortune
Score distribution:
5835 music reviews
    • 74 Metascore
    • 80 Critic Score
    While there are no big surprises on Rockmaker, most of the tracks on the album are as instantly addictive as in their heyday.
    • 79 Metascore
    • 80 Critic Score
    Deeper Well is an album to wallow in, one for those rainy days inside where you just want to sit and find comfort in music. For anybody undergoing some large life changes, this is an album that will be able to gently guide you through those times.
    • 54 Metascore
    • 40 Critic Score
    It’s another long album – if there’s one conclusion to be drawn from this record, it’s that Justin Timberlake desperately needs an editor – but it’s a return to the slinky RnB pop that made his name. The problem is that there’s not much of the sparkle that was evident about 20 years ago.
    • 83 Metascore
    • 80 Critic Score
    eternal sunshine also represents a triumphant return to form, sophisticated pop music complementing her distinctive voice beautifully.
    • 83 Metascore
    • 80 Critic Score
    While it doesn’t quite have the instantly addictive quality that Pupul’s work with Charlotte Adigéry does, this is still a rich, multi-layered work that serves as both a fine tribute to Pupul’s mother and a compelling journey of grief, loss and the effects of ancestry.
    • 79 Metascore
    • 80 Critic Score
    It’s a brilliant record, even without the weight of history behind it, and a classic, true heavy metal album from the same band that practically invented much of the genre. Essential for fans of any of the forms of metal. Obviously.
    • 84 Metascore
    • 100 Critic Score
    This is an astonishing album.
    • 67 Metascore
    • 70 Critic Score
    If Antonoff can add more of his own personality into songs as beautifully crafted and well produced as these, they could unleash something special.
    • 66 Metascore
    • 50 Critic Score
    Sadly, too much of the Easy Eighth Album sounds a bit hollow and empty, the sound of a band wanting to move on, but without the energy to properly capture the old glory days.
    • 89 Metascore
    • 80 Critic Score
    This is thrillingly visceral music that could bring Mannequin Pussy ever closer to crossover success.
    • 79 Metascore
    • 80 Critic Score
    This is an adrenaline rush of an album, an electric shock in a world of flabby gas. Proof, if any were needed, that it’s possible to reinvent the wheel if you’re committed enough to the spin.
    • 82 Metascore
    • 80 Critic Score
    It’s another intriguing step in the evolution of Everything Everything – it ultimately doesn’t matter whether you buy into the overarching concept of the record when the songs are as good as they are on Mountainhead.
    • 82 Metascore
    • 80 Critic Score
    The more that you listen to this album, the more affecting it becomes.
    • 86 Metascore
    • 80 Critic Score
    On this one, they’ve become a great band. It’s harder to take them seriously here, but perhaps that’s something they’ve never wanted. They’re more than content with being the class clowns, and we’re more than happy to have them.
    • 73 Metascore
    • 40 Critic Score
    The main problem with Gallagher-Squire is that it all sounds a bit lazy and predictable. You get the impression that they know this too.
    • 82 Metascore
    • 80 Critic Score
    Most importantly, Sadier succeeds in her aim, offering a genuine musical antidote to the cultural scars and traumas we carry from recent years.
    • 80 Metascore
    • 80 Critic Score
    There is no radical change from their first four albums, but anyone familiar with MGMT knows that means plenty of musical exploration, a refreshing flick of the fingers up to the norm. There are many lyrical gems, too, VanWyngarden and Goldwasser maintaining their happy knack of writing songs that connect, songs that their listeners will want to hear on repeat.
    • 88 Metascore
    • 90 Critic Score
    As a soundtrack to watching those flames flicker, it doesn’t come much better than The Past Is Still Alive.
    • 87 Metascore
    • 100 Critic Score
    It’s more conceptually consistent, more musically accomplished, more of pretty much everything that she’s ever done before – and what she was already doing was verging on masterly. Filthy Underneath is already a contender for Album of the Year, and it will take something truly exceptional to beat it.
    • 81 Metascore
    • 90 Critic Score
    Maya Shenfeld’s towering achievement is to craft a highly effective polemical record with no words, the music saying all that needs to be said: throw in imaginative sound design and a deft approach to pacing and the result is an out-and-out triumph.
    • 78 Metascore
    • 80 Critic Score
    By the time we reach the end, Doyle has nailed his musical remedy for the pace and relentless demand on the senses this digital life can make. Ironically he does so with a pleasing amount of analogue input, the music spring-like in the upward looking way it saunters down the street.
    • 84 Metascore
    • 90 Critic Score
    We find Omni changing the formula only slightly and having incredible success with it. Highly recommended. Underrate them at your peril.
    • 89 Metascore
    • 80 Critic Score
    The Mess We Seem To Make is a remarkably confident, assured debut album – every inch of care and time that’s been lavished on it has obviously been well spent. Crawlers sound very much like a band on the cusp of some very big things.
    • 78 Metascore
    • 90 Critic Score
    Blu Wave sounds absolutely steeped in sadness – it’s full of pedal steel guitar, luscious string arrangements and Lyttle’s fragile vocals. It is, in a word, beautiful.
    • 78 Metascore
    • 60 Critic Score
    Tangk is sadly, and far too often, a rather boring album by a band who can and should be doing much better.
    • 82 Metascore
    • 70 Critic Score
    It would have been very easy, at such a young age, to restrict himself to a particular sound, but What Happened To The Beach? demonstrates an impressive range that bodes well for his long-term success.
    • 88 Metascore
    • 80 Critic Score
    What Now is sometimes not an easy listen, but it’s certainly a thrilling and restless journey. Looking at how Howard has evolved from her early days with Alabama Shakes, a more appropriate title for this collection could have been What Next – as whatever does come next is likely to be intriguing.
    • 80 Metascore
    • 90 Critic Score
    Each and every song here would sound completely at home as closing credits music for any number of fantastic horror movies. Not necessarily because of the finality of the songs, but rather because they conjure an unnameable, hideous feeling that is generally only experienced after witnessing something terrifying.
    • 74 Metascore
    • 60 Critic Score
    The only issue is that, over the course of a 45 minute album, Masics’ style can drag a bit. When his songs lose Barlow’s influence, they can tend to lose a bit of energy, and as What Do We Do Now reaches its conclusion, you may be a bit weary of mid-paced plodders like Old Friends and Hangin’ Out. They’re not bad songs as such, there’s just not too much to distinguish them as more than filler.
    • 72 Metascore
    • 60 Critic Score
    It’s a pleasing finish to a rather uneven collection. People often say that the first episode of a sit-com is disappointing, and you should skip to the second, which is exactly the approach we propose for this album.