musicOMH.com's Scores

  • Music
For 4,708 reviews, this publication has graded:
  • 61% higher than the average critic
  • 3% same as the average critic
  • 36% 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: 73
Highest review score: 100 Through The Windowpane
Lowest review score: 0 Fortune
Score distribution:
4708 music reviews
    • 72 Metascore
    • 60 Critic Score
    As far as compilations and rarities sets go, this is no cynical cash-in, but neither is it absolutely essential, even for fans of the band. There’s a lot of cool material here that is definitely worth exploring, but nothing that will demand a second listen for anyone other than the most hardcore of fans.
    • 72 Metascore
    • 60 Critic Score
    Mostly this is just a bit Bastille by numbers. If you’re looking for a photocopy of their previous albums, faded and off-colour, Doom Days will satisfy.
    • 75 Metascore
    • 50 Critic Score
    Most of these tracks would probably count as mid-tempo throbbers, and this aesthetic cloys a bit by the end of the record. In the same interview he also joked that this release exists because he “owes the label an album”, and this is evident in the filler that pads out an EP’s worth of good tracks.
    • 81 Metascore
    • 60 Critic Score
    Whilst Psychedelic Porn Crumpets remain an attractive proposition, this outing would perhaps suggest that they’re starting to cool off a little after the hot, toasting stage they enjoyed with their first two releases.
    • 84 Metascore
    • 40 Critic Score
    Northampton’s Child has a brilliant trap-style beat which comes with one of Slowthai’s better performances, as if being more autobiographical implicitly encouraged him to find his own voice. But these moments are too few and far between to save a record that reveals the whirlwind of hype around Slowthai to be not much more than invisible garments on an arrogant emperor.
    • 62 Metascore
    • 60 Critic Score
    As ever with Diamandis, there’s some decent pop music here, but it seems like we’re still waiting for her to produce that genuine killer album, Diamonds or no Diamonds.
    • 58 Metascore
    • 60 Critic Score
    Free Spirit is a patchy album from an artist who is perfectly capable of delivering nifty falsetto lines and smooth come-ons, but who is also far too predisposed to sloppy downtempo numbers.
    • 80 Metascore
    • 60 Critic Score
    This is an absolute delight for a fan, but hard to recommend for anyone else. Of the entire back catalogue, Side Effects seems like the slightest of their albums, but at least its hottest moments go some way to countering how underdone the whole thing seems.
    • 73 Metascore
    • 60 Critic Score
    The State Between Us has some brilliant moments, but those moments are too stretched out: many of the tracks could have been half their length and been equally effective, and some could have been cut altogether for not holding together as pieces of music. However, even at its lowest ebbs it retains some intrigue from its novelty, and the sheer ambition of the album is not to be faulted.
    • 77 Metascore
    • 60 Critic Score
    Gathered is very much an album that needs time and attention to allow its strengths be isolated and to surface. Long term Gelb fans will appreciate his continued work rate, the extension of musical themes and hints at his past but overall it may be too slight and unprepossessing for the casual, passing listener.
    • 77 Metascore
    • 60 Critic Score
    Despite some excellent high points, Tasmania appears jumbled as a whole and there are too many tracks that just don’t hit the bullseye for it to be upheld as the best Pond have recorded.
    • 62 Metascore
    • 50 Critic Score
    Nothing really jumps out, and Ian Brown’s seventh album still feels weirdly unrewarding, the artist playing a contented father rather than raging at the current state of the world. That is fair enough of course, but for an artist as established and inspirational as Ian Brown has been over the decades, we surely deserve waves rather than ripples.
    • 68 Metascore
    • 60 Critic Score
    This feels like something that Harcourt did for his own satisfaction, and as a little treat for his fans. There’s nothing wrong with that, it doesn’t leave a lot for the rest of us to dig into.
    • 73 Metascore
    • 60 Critic Score
    Divorced from the context of the North Korea shows the purpose of these songs seems a little unclear, even factoring in the wordplay of “How do you solve a problem like Korea”, so the final few tracks are crucial to the album.
    • 63 Metascore
    • 40 Critic Score
    There’s obviously still an audience for Muse, given by the size of the venues they still sell out, and this will definitely please the die-hards, but most of Simulation Theory simply fizzles out without leaving much of an impression.
    • 65 Metascore
    • 60 Critic Score
    A pretty decent record if by no means a great one. Shiny And So Bright, Vol 1 / LP: No Past. No Future. No Sun. neither offers the chance to dent Corgan’s ego or inflate it in any significant way.
    • 66 Metascore
    • 40 Critic Score
    No Tourists is a change of heart, but it proves Howlett’s instincts right with its lack of inspiration. Making this record probably did bore them, just as it bores this reviewer to listen to most of it, and while there are signs of life in places it’s mostly, to quote Jeremy, so futile.
    • 69 Metascore
    • 60 Critic Score
    If by representing these protest songs Ono intended to convey how little has changed since she first recorded them in the spirit of social activism then she has succeeded, but Warzone also highlights how the conversation has evolved.
    • 59 Metascore
    • 50 Critic Score
    Though Natural Rebel has its moments, it all feels a bit staid and stale: not so much rock’n’roll rebellion as conventional cliché, both musical and lyrical.
    • 73 Metascore
    • 60 Critic Score
    While Art Of Doubt doesn’t quite touch their previous high points, there’s still more than enough to keep many a Metric fan happy.
    • 75 Metascore
    • 60 Critic Score
    Elephants On Acid is far from perfect, and at points its short tracks sound like sketches that could have been fleshed out more. But it is a worthy addition to their discography, and shows development of their signature sound.
    • 63 Metascore
    • 60 Critic Score
    It’s About Time has joyous, feel-good highlights and low points that could have been worse.
    • 76 Metascore
    • 60 Critic Score
    Clocking in at a nifty 38 minutes, Obey is a solid release, though it trails off near the end with tracks that are clearly less inspired than the others. In these sections the minimalism is stretched too far and the arrangements are too loose, but the album has great moments elsewhere.
    • 69 Metascore
    • 60 Critic Score
    It’s a good solid album, but far from essential when it comes to Justice.
    • 84 Metascore
    • 50 Critic Score
    Former Pulp bassist Steve Mackey eventually ended up producing the record, and he gives Pierce’s various sonic wanderings space to roam, but sadly it’s an amble of a circular nature.
    • 70 Metascore
    • 60 Critic Score
    When it gets the dynamics right, it’s undoubtedly a work of considerable skill, but it’s hard to escape the sense that what we’re hearing is essentially a well-crafted pastiche of other artists, rather something truly memorable in its own right.
    • 67 Metascore
    • 60 Critic Score
    Maybe it’s the heartache documented in these songs, but there’s an oddly listless quality to some of the album. ... However, some of the charm of those early songs is replicated.
    • 57 Metascore
    • 60 Critic Score
    Coup De Grace has plenty to offer, but it’s not a big step forward from Kane’s previous solo work. If you liked that you’ll probably like this; if you didn’t, this probably won’t change your mind.
    • 67 Metascore
    • 60 Critic Score
    An album that leaves few ripples on its smooth surface.
    • 76 Metascore
    • 60 Critic Score
    It is a hodgepodge of tracks, seemingly made with little thought to how they will all sound in sequence, and because of this it doesn’t have much more consistency than an eclectic music collection on shuffle. Which is a shame, because there are good ideas here.