musicOMH.com's Scores

  • Music
For 3,534 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 points higher than other critics. (0-100 point scale)
Average Music review score: 72
Highest review score: 100 Berlin: Live At St. Ann's Warehouse [Live]
Lowest review score: 0 Fortune
Score distribution:
3,534 music reviews
    • 76 Metascore
    • 20 Critic Score
    You'll find more wit and invention on a solitary track by Ethan Kath and Alice Glass than you will on this depressingly retro and lumpen homage to a scene that wasn't even all that back in the day.
    • 75 Metascore
    • 30 Critic Score
    Pay The Devil is for Van Morrison completists only.
    • 74 Metascore
    • 20 Critic Score
    Mature Themes is simple self-indulgence and that's rarely worth listening to.
    • 72 Metascore
    • 30 Critic Score
    There's little in the way of fire or grit here.
    • 70 Metascore
    • 30 Critic Score
    It's not all bad, but there's no getting away from the fact the main problem with this lifeless debut is Elkington's voice.
    • 69 Metascore
    • 20 Critic Score
    Petits Fours just has too many annoying bits about it to be good.
    • 66 Metascore
    • 30 Critic Score
    They're not completely terrible. Their music won't damage your ears or insult you, it's just quite spectacularly dull.
    • 64 Metascore
    • 30 Critic Score
    It is impeccably produced and sheened, but it sounds polished to the extent of being soulless.
    • 63 Metascore
    • 20 Critic Score
    It truly is awful.
    • 62 Metascore
    • 30 Critic Score
    Papa Roach have the tools to be a damn good rock band, but they'll never be one unless they change the bloody record.
    • 61 Metascore
    • 30 Critic Score
    The Open Door is an exercise in how not to make a sophomore album (or any album for that matter).
    • 61 Metascore
    • 20 Critic Score
    Rather than offering reinterpretation, Malin sounds like an annoying guest at a house party, who despite all efforts to hide the guitar has found it and insists on playing a disparate bunch of songs much to the annoyance of everyone else, none of whom quite have the heart to tell him to stop.
    • 61 Metascore
    • 20 Critic Score
    When you're at Rihanna's level you can afford the best songwriters and producers in the business and sonically the album is generally far ahead of her peers. Yet if Sia's Diamonds is a sultry triumph, its character and uniqueness highlights the ultimately hollow pleasures of much around it.
    • 60 Metascore
    • 30 Critic Score
    Fixin' The Charts comes with a lofty goal: to grind down the blemishes that mar the rock face of the popular music mythos. But to attempt to "fix" history, to paint over its wrongs with a broad, sneerish stroke, is a gross mis-step in the career of one of anti-pop's savviest purveyors.
    • 60 Metascore
    • 30 Critic Score
    Replete with tacky production and recycled ideas, its few merits are stretched to near breaking point.
    • 60 Metascore
    • 20 Critic Score
    I'm not going to pretend I know anything about dance, and the experts out there might be thinking this album features the 'tune' of the summer, but for a former Simian fan, this is nothing but a huge disappointment.
    • 58 Metascore
    • 30 Critic Score
    Drowners is a fun little record, if you want to get all patronizing about it, but it’s difficult to get any further than that because of its staggering unoriginality.
    • 58 Metascore
    • 20 Critic Score
    Unfortunately, all this really means is an extra emphasis on weirdly pitched keyboard riffs and slightly dated sounding beats.
    • 58 Metascore
    • 20 Critic Score
    To Lose My Life is an album made to a predefined plan with skill and no heart.
    • 57 Metascore
    • 20 Critic Score
    The bits which 'aren't bad' are the bits which don't involve Ms Hilton.
    • 57 Metascore
    • 20 Critic Score
    Hi-Tek's construction of techno beats and rave stabs on the quirky I Fink U Freeky and heavy brostep on opener Never Le Nkemise just add to the nauseating concoction of trash that comprises Ten$ion.
    • 56 Metascore
    • 30 Critic Score
    With half of rEVOLVEr emulating his older tracks and the other half making strained attempts to branch out into rap and dance, it appears that the rappa ternt sanga simply hasn't found anywhere else to turn.
    • 56 Metascore
    • 20 Critic Score
    All in, it suffers from a lack of focus and direction.
    • 55 Metascore
    • 20 Critic Score
    The whole thing simply flat lines into mediocrity.
    • 55 Metascore
    • 20 Critic Score
    Clarke is a genuinely talented songwriter, if rather earnest in his intentions, but in Music for The People he and his mates seem to have lost the plot.
    • 54 Metascore
    • 20 Critic Score
    After a while, it grates badly on the nerves.
    • 51 Metascore
    • 20 Critic Score
    So there are a couple of silly tracks - but then there were two silly Bennett sisters [in Austen's Pride and Prejudice]. Sadly, the remainder of the album is all Mary and no Elizabeth; devoid of life, wit, or energy.
    • 51 Metascore
    • 20 Critic Score
    Unless a couple more of these tracks manage to repeat the success of 'When I Grow Up' and stick on commercial radio, this is an album heading straight for the bargain bins.
    • 50 Metascore
    • 20 Critic Score
    It's downright bad.