musicOMH.com's Scores

  • Music
For 4,331 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 Masseduction
Lowest review score: 0 Fortune
Score distribution:
4331 music reviews
    • 80 Metascore
    • 90 Critic Score
    An album that sits comfortably in the 4AD canon of excellence.
    • 80 Metascore
    • 90 Critic Score
    The soundtrack brings together the two phases of Walker, so to speak: the rich, sweeping orchestral one heard from The Walker Brothers and through the solo Scotts 1-4, before morphing into the avant-garde, claustrophobic, doom-laden one from 1995’s Tilt onwards.
    • 64 Metascore
    • 90 Critic Score
    Complete Strangers is one of those collections where over the course of several listens each song enjoys time as being considered the highpoint of the album only for another track to supplant it soon after. Whisper it, but Vetiver may have just made one of the albums of the year.
    • 80 Metascore
    • 90 Critic Score
    Swing Lo Magellan affords generous breathing space to Dirty Projectors' music: a context in which new levels of unpretentious eloquence positively flourish.
    • 79 Metascore
    • 90 Critic Score
    There’s the archetypical vulnerability lurking beneath each track, but their sound suggests something everyone from that mid-2000s period has (hopefully) done--matured and become more assured. With it, indie pop mk II has as well. Excellent, this.
    • 87 Metascore
    • 90 Critic Score
    One of the 21st century's most intelligent and satisfying bands (musically, lyrically, emotionally) have once again set out their stall, and once again produced a work of inspired resonance, capturing truth after truth, in all its muddled, human realism.
    • 74 Metascore
    • 90 Critic Score
    Anyone with even a passing interest in Royksopp--whose ears have been pricked by an Eple or Poor Leno--could do far worse than immerse themselves in one of 2009's greatest releases.
    • 83 Metascore
    • 90 Critic Score
    Falling down, getting up, and persevering through music is something Superchunk have done time and time again. On I Hate Music, they’ve bested even themselves.
    • 71 Metascore
    • 90 Critic Score
    This is a real cracker of an album.
    • 82 Metascore
    • 90 Critic Score
    The 11 songs collected here are all among the very best of his career, enlivened with a vividness and warmth that offers something new with every repeated listen.
    • 71 Metascore
    • 90 Critic Score
    It will surely be remembered as perhaps the greatest Frank Black LP (to date, at least) and perhaps even as the record that made it cool to like country again.
    • 78 Metascore
    • 90 Critic Score
    Sundfør's combination of careful, detailed arrangement and unrepentant magic realism is visionary and enriching.
    • 78 Metascore
    • 90 Critic Score
    While the two outer instrumentals are undeniably moving, this record is definitely Mark Lanegan's. There is no voice quite like his--and none that leaves the same impact.
    • 75 Metascore
    • 90 Critic Score
    While Thought Forms impress, it is Esben And The Witch who in two tracks, in 15 brief minutes, absolutely stun.
    • 86 Metascore
    • 90 Critic Score
    It’s a work that’s beautifully single minded, but may be a little too much of an undertaking for some. What’s inescapable is that it’s the sound of a person bravely questioning her place in the world, often in inspired fashion.
    • 69 Metascore
    • 90 Critic Score
    This is something we've been waiting a long time for - a truly great Manics album.
    • 79 Metascore
    • 90 Critic Score
    Overall, since their formation in 1997, The Dillinger Escape Plan have seamlessly fused math metal with aspects of pop and jazz, a trend that wholeheartedly continues on One Of Us Is The Killer.
    • 81 Metascore
    • 90 Critic Score
    This could be the biggest revelation of the lot. It simply does not get any better than Love.
    • 79 Metascore
    • 90 Critic Score
    Whilst it obviously won’t be eligible for the Mercury Music Prize on the basis of nationality, this compelling, rigorous and often beautiful work ought to receive the same level of attention as Jessie Ware’s debut.
    • 60 Metascore
    • 90 Critic Score
    He doesn't ever disappear too far up his backside, instead keeping an attentive ear on what his devotees might still want to hear.
    • 73 Metascore
    • 90 Critic Score
    III
    Föllakzoid carry forward both traditions in their own uncompromising way, and with III they deliver their most polished album to date, and their most coherent statement of how they relate to their forebears.
    • 76 Metascore
    • 90 Critic Score
    Once again, this is the sound of Wrekmeister Harmonies reporting back from the edges of existence and experience where, on this evidence, it’s both terrifying and beautiful.
    • 75 Metascore
    • 90 Critic Score
    There's absolutely nothing indecisive (or indeed shit) about this album. It's swaggering, full-throttle, full-throated genius.
    • 72 Metascore
    • 90 Critic Score
    This could well be Midlake's masterpiece, which is saying something considering the esteem in which The Trials Of Van Occupanther is held.
    • 83 Metascore
    • 90 Critic Score
    For what it sets out to do, it's damn near perfect, and what higher praise is there than that?
    • 81 Metascore
    • 90 Critic Score
    While James Blake came good on his Mercury prize winning second album, William Doyle as East India Youth has delivered a stunningly exquisite work on his very first go.
    • 81 Metascore
    • 90 Critic Score
    Paradise is the sound of a more mature and confident Slow Club, but without losing that adorable edge that's so vital to them. Start clearing some space at the top of those 'Best of 2011' lists, for this is sure to figure.
    • 75 Metascore
    • 90 Critic Score
    This is real music, about real people, dealing in real emotion. That it sounds so gorgeously lush too is mere icing on a very rich cake.
    • 78 Metascore
    • 90 Critic Score
    There’s not an ounce of fat to be found. It might be a little lo-fi in places, but it doesn’t matter, this is the definition of an album that is all-killer-no-filler.
    • 83 Metascore
    • 90 Critic Score
    This being Cave, classy lyrical dexterity is never far away. But here the fire and brimstone preacher is a little less po-faced than much of his back catalogue, allowing humour (still black as coal) to gain the upper hand.