musicOMH.com's Scores

  • Music
For 4,344 reviews, this publication has graded:
  • 62% higher than the average critic
  • 3% same as the average critic
  • 35% 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: 72
Highest review score: 100 One Armed Bandit
Lowest review score: 0 Fortune
Score distribution:
4344 music reviews
    • 75 Metascore
    • 70 Critic Score
    In truth, the only weakness to Choir Of The Mind is its length – at 13 tracks and clocking in at just under an hour, it’s a long time to spend with an album that’s so resolutely downbeat. Yet there’s a lot to admire with Haines’ second solo effort (not least the quality of her production) and it makes a decent calm counterpoint to the swirling storm of Metric.
    • 81 Metascore
    • 90 Critic Score
    While Wolfe’s incredible vocals are the main draw, her long term collaborator Ben Chisholm deserves significant recognition too. Not only does his fuzzed-to-fuck bass make these songs feel genuinely threatening, his manipulation of sound and creation of washes and collages provides unsettling backgrounds for Wolfe to weave her magic over. Without him, the oppressive atmospherics of the album wouldn’t be nearly as effective.
    • 80 Metascore
    • 80 Critic Score
    Music for The Age of Miracles is an excellent record and a level above Minotaur, without scaling the heights of their first four albums. More 2009’s Bonfires On The Heath than Suburban Light, perhaps.
    • 76 Metascore
    • 70 Critic Score
    As ever with Amos’ more recent albums, it’s a bit overlong and some songs, especially in the album’s mid-section, float by without ever making much of an impression. ... Yet when Tori is on form, she still sounds as vital and exciting as she did 25 years ago.
    • 72 Metascore
    • 70 Critic Score
    After remaining stagnant for so long, Concrete and Gold is a mini breakthrough for the Foo Fighters. Progress, at last.
    • 73 Metascore
    • 80 Critic Score
    While it’s possibly a bit too similar to First Mind to have the same sort of impact that album did, this is still a powerful demonstration of what a fine musician Mulvey is.
    • 81 Metascore
    • 80 Critic Score
    While not every song is as successful--Mrs Lincoln… doesn’t make quite enough of a very old joke (compared to, say, …Beethoven’s How Do I Get to Carnegie Hall?), and A Little Bit Like Fun is a little bit slight--these are trifles; Hippopotamus is a big, joyous beast of an album.
    • 78 Metascore
    • 80 Critic Score
    Elytral may not be an easy record, but it is strangely affirmative and rewarding.
    • 77 Metascore
    • 80 Critic Score
    This is an album that confirms Alvvays’ massive potential and makes the perfect soundtrack for those nights indoors as the summer begins to fade.
    • 80 Metascore
    • 70 Critic Score
    Beast Epic is a worthy addition to the Iron And Wine catalogue and an example of an album that improves the more and deeper you listen to it.
    • 85 Metascore
    • 80 Critic Score
    Sleep Well Beast is as sad a record as The National have ever made, and yet it also feels like their most hopeful.
    • 79 Metascore
    • 80 Critic Score
    Expect The Best is the most akin to Mazzy Star so far.
    • 79 Metascore
    • 90 Critic Score
    This album shows that there’s plenty of life in this band yet, and they’re changing and developing whilst also addressing the past. But most importantly, they’re still creating interesting, vital albums.
    • 73 Metascore
    • 80 Critic Score
    TFCF might well be an Angus Andrew solo album under the Liars banner, but what he’s achieved here fits within the his band’s remit for consistently morphing and confounding expectation. More importantly, it’s heartening to see an album as intriguing as this emerge from such a traumatic time.
    • 80 Metascore
    • 80 Critic Score
    Music For People In Trouble will perhaps be a surprise for those who came to Sundfør via her last album, but they won’t be disappointed. This is an album full of hidden depths, stark emotion, and most importantly, absolutely beautiful songs.
    • 71 Metascore
    • 70 Critic Score
    Now there is an extra dimension, an extra frisson, for like their contemporaries this year (Erasure, Depeche Mode) OMD are bringing some raw feeling to the studio.
    • 78 Metascore
    • 80 Critic Score
    Cutting a path somewhere between the sonic worlds of New Order and !!! (Chk Chk Chk), Omnion runs determinedly in Butler’s own unique direction, mixing decadence and daring and making for something rather special.
    • 75 Metascore
    • 70 Critic Score
    Their music is always beautifully rendered, and there is plenty of interest for the listener, but the hang, their most distinctive weapon, feels underused, its tones not bought into the foreground as much as might be expected.
    • 86 Metascore
    • 80 Critic Score
    This record, more than any from their back catalogue, is a slow burn. It doesn’t have the spiky malevolence of North American Scum or the punchy pull of Daft Punk Is Playing At My House, but it does have depth to spare. Sonically, it’s the richest record they have produced.
    • 79 Metascore
    • 80 Critic Score
    It may have been a long time in the making, but Spooky Action is the album Mansun fans have been waiting for.
    • 79 Metascore
    • 80 Critic Score
    On Dark Days + Canapés, the sense of darkness becomes a bit wearisome. Yet, come the end of the year, this will no doubt be held up as one of the albums that held a mirror to its times. It also confirms Ejimiwe as one of this country’s most vital voices.
    • 81 Metascore
    • 80 Critic Score
    It’s not as immediate an album as Lost In The Dream, and a couple of quality control lapses prevent it from being a truly great record. Yet it’s still a dauntingly accomplished behemoth from a group who grow in stature with every release they put out.
    • 80 Metascore
    • 80 Critic Score
    Exile In The Outer Ring explores complex subjects without reducing them to empty soundbites and neat conclusions.
    • 68 Metascore
    • 80 Critic Score
    Because 24 7 Rock Star Shit is just a great record. The requisite acoustic number (Sticks And Twigs) is heartfelt and pretty, there’s a sleek poppiness which can’t help but shine.
    • 81 Metascore
    • 80 Critic Score
    Everything Everything return with Fever Dream, a brave, boundary pushing album which shows many of their peers how things should be done.
    • 76 Metascore
    • 80 Critic Score
    Dead Cross is basically a straight up adventure into Hardcore. The result is an album that clocks in at under 30 minutes and doesn’t just sound dead cross, at times it’s positively furious.
    • 74 Metascore
    • 60 Critic Score
    SCUM is rarely subtle and its relentless pace can become a little bit much at times. Yet there’s enough promise here to suggest that with more development and quality control, Ratboy could grow into an artist of significant stature.
    • 66 Metascore
    • 70 Critic Score
    When it’s good, it’s very, very good--but it’s also flawed. Such is the band’s conviction to capturing their reservations about our on-demand culture, it’s hard not to feel drained by the end.
    • 78 Metascore
    • 70 Critic Score
    With some more judicious editing, a good album could have been an outstanding one, but even so, this is still superior, well-crafted noir-pop that maintains Del Rey’s impressive career to date.
    • 78 Metascore
    • 70 Critic Score
    As well as this angrier, more focused lyrical approach, some of the arrangements on Raskit are pleasingly minimal.