musicOMH.com's Scores

  • Music
For 5,847 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 Everything's The Rush
Lowest review score: 0 Fortune
Score distribution:
5847 music reviews
    • 60 Metascore
    • 40 Critic Score
    Yet another unimpressive, tedious release.
    • 79 Metascore
    • 60 Critic Score
    Despite its occasional uplifting moments, the overall feeling you get from Ultra Vivid Lament is indeed a lament for something better, something briefly promised by Resistance Is Futile despite its title sounding more Borg-like than Star Trek character Seven Of Nine.
    • 53 Metascore
    • 60 Critic Score
    Though this isn’t a complete comeback, frustrated Kanye fans certainly have more grounds for optimism after this record than they did before it.
    • 71 Metascore
    • 60 Critic Score
    There’s a lot of nods and winks to other artists, while Antonoff’s own personality remains hidden. Every track on the album is nicely played and produced, but there’s nothing that really stops you in your tracks.
    • 84 Metascore
    • 60 Critic Score
    Halfway through a song like Blouse (think Our House by Crosby, Stills, Nash & Young but resolutely uncatchy) this reviewer begins to yearn for the Clairo that worked with Danny L Harle and Mura Masa, though Sling is an album that at least works on its own terms.
    • 69 Metascore
    • 60 Critic Score
    It Won’t Always Be Like This has its moments that suggest something promising is within their reach.
    • 64 Metascore
    • 50 Critic Score
    It might be damning with faint praise, but Hotel Surrender would suggest that Murphy is at his best in shallow artistic waters, and ventures further out at his peril.
    • 78 Metascore
    • 60 Critic Score
    Their fluctuating randomness trails away from scattered innovation and colourful variances in pitch and tone to become interchangeable noise. Without sufficiently varying their distinctive sound, they still serve a herbal tonic for the senses, even if there’s a decidedly bland aftertaste this time. Still, at least there are some nice vinyl options to put away on the shelf.
    • 64 Metascore
    • 60 Critic Score
    Preacher’s Sigh & Potion finds Dear mostly content with spinning his wheels, but luckily his unique style and vocal delivery make it an enjoyable spinning.
    • 75 Metascore
    • 60 Critic Score
    Electronic Music Improvisations Vol. 1 does what it says on the tin, but transcends curio status through Miller and Jones’ unique musicality and verve.
    • 77 Metascore
    • 60 Critic Score
    Concise and defined, the 10 tracks here distill Marina’s thoughts on modern day society and all its horrors into a short, sharp shock. ... If there’s anything the album lacks though it’s some of the knowing playfulness of her previous work.
    • 76 Metascore
    • 40 Critic Score
    Man Made suffers from too much material, not enough editorial oversight, and not nearly enough inspired composition.
    • 76 Metascore
    • 50 Critic Score
    Reprise offers a pleasant, even graceful but ultimately insubstantial retrospective of an artist who can be fascinating when he’s not overly focused on his pleasant, insubstantial brand.
    • 77 Metascore
    • 60 Critic Score
    Numan’s consistency is also his biggest downfall. There’s simply no reason to listen to Intruder if you’ve heard any of the albums he’s released in the past decade, because it’s virtually identical to his previous works.
    • 75 Metascore
    • 60 Critic Score
    Even though it has some misfires, this album is still understatedly fun, driven by a pure zest for blues music that is impossible to shy away from.
    • 69 Metascore
    • 60 Critic Score
    There’s certainly a lot to take in on Ben Howard’s fourth album – not all the ideas work in fairness, and there’s a few too many moments which feel like half-sketched ideas. Yet Dessner makes a decent foil for him and for those who have joined Howard on his career journey to date will be more than happy to continue travelling with him.
    • 81 Metascore
    • 60 Critic Score
    Djourou sees him continue this trend of musical mergings, although this time it is the inclusion of vocalists that provide the main points of difference.
    • 73 Metascore
    • 60 Critic Score
    While a few too many tracks fall into formula, now and again a track appears which stops you in your tracks, such as Lovato’s cover of Tears For Fears‘ Mad World (using the Gary Jules/Michael Andrews template, which sounds even more effective and eerie in this context). If anything, the album ends up becoming tripped up by its own ambition.
    • 71 Metascore
    • 60 Critic Score
    If you take this for what it is, then you’ll have a great time, but the second you start to think about the longevity or replay value of this album, it all starts to come apart at the seams. This is a great album for the fans, but that’s essentially all it is.
    • 66 Metascore
    • 60 Critic Score
    Overall though, this very welcome comeback from Loney Dear does feel a little too stripped back and one-paced at times, so while it’s certainly an interesting development in style, you are left wishing for a little bit more of the zip and zest of Svanängen’s earlier efforts.
    • 74 Metascore
    • 60 Critic Score
    Philips is very much the band’s driving force. Her musical persona is a collage of punk-rock heroines and sliver-screen starlets. She has the rebelliousness of Kathleen Hanna with the lusty charm of Poison Ivy.
    • 75 Metascore
    • 60 Critic Score
    It is the penultimate songs that show some signs of invention.
    • 78 Metascore
    • 60 Critic Score
    It’s a clear attempt to deliver a more mature, varied work than Nothing Great About Britain, and in that it succeeds. But considering his lofty aspirations, there’s nothing here that others rappers like Dave or Akala – both blessed with greater emotional intelligence, intellectual gravitas and grasp of social and political issues – haven’t done better.
    • 72 Metascore
    • 60 Critic Score
    A Billion Little Lights is a good album when heard in isolation, but it pales in comparison to those albums that inspired its creation.
    • 57 Metascore
    • 50 Critic Score
    Ultimately though, Music is a case of too much filler, too little killer, even when divorced from its controversial origins.
    • 80 Metascore
    • 60 Critic Score
    Legacy+ shows two sides of the Kuti coin that, while inevitably reflecting and respecting the history of Fela, also show his restless quest for the future and what that holds carries on with subsequent generations.
    • 71 Metascore
    • 60 Critic Score
    It’s a conflicting record, filled with swells and dry spells, but the forecast is generally clear in all directions.
    • 70 Metascore
    • 60 Critic Score
    It is not instantly recognisable as Groove Armada, but it shows how the pair have moved on from constant festival sets and gigs to managing farms in France, as Andy Cato now does. Clearly they still want to have a good time, but the stress is now on music that feels older than it does new.
    • 61 Metascore
    • 60 Critic Score
    Cyr
    CYR may be a good record, but even with its overblown 20-song length it leaves the listener wanting more, given the context of this band’s capabilities.
    • 77 Metascore
    • 60 Critic Score
    Billed as the spiritual successor to 2017’s Flying Microtonal Banana, sadly a lot of this new record feels like exactly that, the musical equivalent of the yellowy orange filter Hollywood tends to put on films and TV shows to indicate that it’s the Middle East. Yet as flippant as that may sound, there are still some flashes of innovation.