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 Western Stars
Lowest review score: 0 Fortune
Score distribution:
4708 music reviews
    • 74 Metascore
    • 70 Critic Score
    An album that finds Nesbitt in the midst of personal and artistic self-discovery. She’s almost there, just a few more seasons.
    • 84 Metascore
    • 90 Critic Score
    While it’s a stretch to describe the record as ‘poppy’, it’s certainly their most accessible material to date, with songs like The Arbor, Videograms and Let’s Get Lost taking up residence in the head long after the record has stopped playing. ... It may be only January, but there’s already been a place filled on that Best Albums Of 2019 list.
    • 82 Metascore
    • 90 Critic Score
    An emotionally raw and thrilling pop record (because it is a pop record, despite its rock sensibilities). After a series of downs that would finish most bands, Get Tragic sounds like a new start for its creators.
    • 86 Metascore
    • 90 Critic Score
    Musically, she’s moved on from the folky Americana that made her name, and moved towards a more doomy, synth-based sound. Yet it suits her down to the ground.
    • 80 Metascore
    • 80 Critic Score
    Assume Form finds Blake sonically in a state of equilibrium, having found two niches over the course of his career that suit him equally well. They complement each other well, and as the record ends with the soothing but wry Lullaby For My Insomniac.
    • 79 Metascore
    • 90 Critic Score
    It’s a remarkably assured album that shines light on Hayes as an artist of note while further enhancing Brewis’ reputation as an irrepressible source of creativity. It might only be January but this is an album that will bring joy right up to the end of the year and beyond.
    • 76 Metascore
    • 90 Critic Score
    De Facto takes all that was good about Lorelle Meets The Obsolete and makes it even better. The groovier undercarriage suits their sound, as do the enhanced keyboards, and the substance of their music is hugely impressive.
    • 89 Metascore
    • 100 Critic Score
    The recordings here are ideal for longtime fans, whose only gripe might be paying for material that they already own. But this is not a big problem when you consider just how many rare tracks you get for your buck.
    • 85 Metascore
    • 80 Critic Score
    Lithics have made what is surely one of the most sincerely bracing albums of the year.
    • 74 Metascore
    • 80 Critic Score
    Throughout the 10 songs both performers are clearly having fun, and yet--as you might expect from its Ghost Stories title--there is darkness at the heart of this album. For that reason it is the perfect Yuletide accompaniment, capturing perfectly the comforts and wonder of the season--but also the awkwardness nobody wants to talk about.
    • 81 Metascore
    • 80 Critic Score
    All in, this is quite a cathartic affair, as Ferry weaves in and out of his enviable back catalogue with vim and vigour and with dashes of melancholy and darkness. Symphonic, cinematic and touching.
    • 83 Metascore
    • 100 Critic Score
    It has a daft title, and a few daft songs with hammy lyrics. It has variety, diversity and its heart on its sleeve. It has pretence, artifice and ambition. It has, basically, everything.
    • 76 Metascore
    • 70 Critic Score
    Queen Of Golden Dogs is Vessel at their most direct and bold, and the result is often overwhelming, sometimes confusing, and always fascinating.
    • 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.
    • 81 Metascore
    • 80 Critic Score
    The downbeat tone may put some people off, and with the average track lasting a good five or six minutes, it’s true that some degree of patience may be required to get the most out of Yawn. For those willing to invest that patience though, the rewards are vast: Yawn demonstrates just how well Ryder-Jones is evolving as a songwriter.
    • 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.
    • 68 Metascore
    • 80 Critic Score
    The last three Art Brut albums gradually moved away from the energy and enthusiasm of Bang Bang Rock & Roll, but with Wham! Bang! Pow! Let’s Rock Out they sound like a band having more fun than ever before. All three of those exclamation marks are entirely justified.
    • 74 Metascore
    • 80 Critic Score
    Selling is an inspired project, and On Reflection utilises the best of both artists to produce a project that is fascinating, pretty and groovy all at once: required listening for fans of electronic music.
    • 77 Metascore
    • 80 Critic Score
    Merrie Land feels like the perfect soundtrack for these uncertain, worrying times.
    • 82 Metascore
    • 100 Critic Score
    A neat album of only 10 tracks. We find her in life-admin mode, clearing out any dispensable trash that she no longer has time or the inclination for. ... Sublime.
    • 81 Metascore
    • 70 Critic Score
    Ultraviolet could have had a little more variety in its seven tracks, but it remains an impressive outing by this multi-talented new artist.
    • 75 Metascore
    • 70 Critic Score
    Generally, there’s a rather cosy feel to Elastic Days--you can imagine the gorgeous stroll of the title track keeping you company through the long winter months, and although some may bemoan the lack of variety on display through the album, it’s hard to deny that it makes for a very pleasant 41 minutes.
    • 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.
    • 78 Metascore
    • 80 Critic Score
    It showcases Bradley’s strongest talents, and is just as good as any of the records he released when he was alive.
    • 66 Metascore
    • 90 Critic Score
    This is a magnificent and engaging record from one of our most beloved actors that both jazz aficiandos and neophytes should come to adore.
    • 88 Metascore
    • 100 Critic Score
    Her instrument has aged with her like a fine wine, like Iggy Pop, or like Mr Jagger himself. It’s completely her, completely unique. The new version is gleefully bleak and unwieldy.
    • 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.
    • 80 Metascore
    • 90 Critic Score
    They’ve turned everything up beyond 11 this time, opting to throw more skull crushing riffs into the mix. The songs might be shorter, but they lack none of the innate need to pummel that infuses most of their work. 

    • 87 Metascore
    • 90 Critic Score
    Daughters have provided a soundtrack to satisfy our ghoulish intrigue with a rare beast that is both thrilling and wholly singular. Yet, however darkly disturbing You Won’t Get What You Want is at times, its matchless quality elicits awe and wonder, and strangely, that brilliance provides a surprising and curious warmth.