musicOMH.com's Scores

  • Music
For 4,719 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 Red
Lowest review score: 0 Fortune
Score distribution:
4719 music reviews
    • 87 Metascore
    • 100 Critic Score
    Fontaines DC wear their influences close to their sleeve, with nods to The Pogues, The Strokes and Joy Division, but these influences are absorbed into their identity, to create something that instantly familiar and accessible, but also thrillingly compelling. ... They’re going to be big, and one listen to Dogrel will convince you of that fact.
    • 80 Metascore
    • 70 Critic Score
    There are moments of brilliance and experimentation, but these are too often outweighed by pedestrian tunes and indistinct vocals.
    • 72 Metascore
    • 80 Critic Score
    A fairly straight-up radio friendly rock album.
    • 79 Metascore
    • 80 Critic Score
    No Geography is a great Chemicals album, for it balances the hedonistic big numbers with sentiments of real substance, fighting its corner with vigour in the face of chaos. ... It ranks as one of the Chemical Brothers’ finest achievements.
    • 76 Metascore
    • 80 Critic Score
    Loops, beats and synths unite to create a beautiful and serene experience on Ambitions, one worth returning to again and again for fans of instrumental electronica.
    • 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.
    • 85 Metascore
    • 90 Critic Score
    Badbea, then, is a spirited and triumphant addition to the discography. It puts a smile on the listener’s face, will make their feet twitch and will on occasion bring an affectionate tear to the eye.
    • 84 Metascore
    • 90 Critic Score
    Gibbons and Penderecki deserve enormous credit for their approach, which is at once determinedly studied but also gloriously instinctive, Gibbons getting to the very heart of the music and the way it is made with her whole heart.
    • 84 Metascore
    • 80 Critic Score
    It’s another fine addition to a canon of work that has, over the last 20 years, been consistently excellent.
    • 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.
    • 80 Metascore
    • 80 Critic Score
    My Finest Work Yet an album that will immediately appeal to Andrew Bird’s long-term fans, and may well attract a few new ones as well.
    • 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.
    • 79 Metascore
    • 80 Critic Score
    It is a very human experience, and if you can work past the occasional awkwardness of the vocal by spending more time with it then listening treasures await.
    • 78 Metascore
    • 90 Critic Score
    For now, this is an album that establishes Foals as one of the most exciting and driven bands of the generation.
    • 89 Metascore
    • 90 Critic Score
    It’s rare to hear a debut album so confident and accomplished, especially when the artist himself has just turned 20 years old. Yet Psychodrama is pretty close to a masterpiece and raises the bar for a new standard in British rap.
    • 64 Metascore
    • 70 Critic Score
    She [Louise Wener] sounds more at ease in her delivery, and the knowhow is natural. On occasion with their less successful single releases you felt Sleeper were trying a bit too hard, but here it is refreshingly instinctive. The addition of more power to the lower end is very welcome too.
    • 78 Metascore
    • 70 Critic Score
    You will have gathered from this that Happy In The Hollow makes a positive impact, its occasional loss of focus an asset rather than a fault as the music runs free. TOY make music notable for its mood, groove and texture, if not always finding a killer melody.
    • 82 Metascore
    • 90 Critic Score
    They’re looking forward, stepping outside of their comfort zone and creating some of the most interesting, ambitious music of their long career.
    • 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.
    • 81 Metascore
    • 80 Critic Score
    For a debut it’s a remarkably confident and assured album, while hinting at even greater things to come in future years.
    • 74 Metascore
    • 100 Critic Score
    A beautiful, dramatic, idiosyncratic album from a beautiful, dramatic, idiosyncratic band.
    • 79 Metascore
    • 90 Critic Score
    What this record does, yet again, is show that Danger Mouse has bulletproof, unassailable taste in music and collaborators. Karen is exactly the right fit for these songs, and she is absolutely the star of the set, thanks in no small part to the incredible production. This isn’t the best record that either of these mercurial artists have made, but it’s undoubtedly the finest collaboration you’ll hear this year. Guaranteed.
    • 76 Metascore
    • 90 Critic Score
    Plastic Anniversary is yet another masterwork by a duo that have been on the top of their game for longer than some producers have been alive, and long may their reign over sample-driven electronica continue.
    • 78 Metascore
    • 70 Critic Score
    Even though there are moments that skirt close to self-indulgence--there’s an entire song dedicated to celebrated author Judy Blume which still somehow works, while Bigger On The Inside stops being a heartfelt defence after a while and just turns into a bit of a whine--and you’re left with the impression that a sympathetic editor would do wonders for Palmer, there are still some heart-stopping moments of beauty on this third album.
    • 73 Metascore
    • 80 Critic Score
    The Brian Jonestown Massacre is exactly what you expect, and selfishly want, The Brian Jonestown Massacre to sound like.
    • 84 Metascore
    • 80 Critic Score
    This is an album to sit with, to take in, and to fully appreciate its subtle and quiet beauty. It may not be her commercial breakthrough--someone as esoteric as Pratt could be waiting a while for that--but it’s certainly her best album to date.
    • 77 Metascore
    • 80 Critic Score
    This is punk music delivered with a righteous feminine fury.
    • 78 Metascore
    • 70 Critic Score
    To Believe is a worthy return for The Cinematic Orchestra, developing their sound while keeping the trademark fusion between electronic and orchestral that Swinscoe and co. do so well.
    • 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.
    • 85 Metascore
    • 80 Critic Score
    These songs are stamped full of her personality and they mark a major evolution as a songwriter. As the final chords of the heartrending Comfort ring out, it’s impossible not to think that yet another major Antipodean talent has put a new marker down.