musicOMH.com's Scores

  • Music
For 4,740 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 Have One On Me
Lowest review score: 0 Fortune
Score distribution:
4740 music reviews
    • 74 Metascore
    • 70 Critic Score
    This is a brisk, bright and joyful album from a band who have been anything but those things in recent years. It’s recommendable for those attributes alone, but even more so when you start to get the feeling that this could herald a return to form.
    • 80 Metascore
    • 70 Critic Score
    For Drab Majesty to take the next step, with an album that resonates with a larger audience, you feel that more depth is required along with more of the melodic excellence provided a handful of times here. If that happens it could even rival some of the best albums your dusty collection from the 80s boasts, such is the potential here.
    • 75 Metascore
    • 70 Critic Score
    It is when the album starts to sound like a Saint Sinner record produced by Tycho that the problems arise, but it remains worth a listen for those who appreciate immaculate soundscapes.
    • 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.
    • 75 Metascore
    • 80 Critic Score
    Given the number and variety of artists appearing on EGOLI it could have been easy for it to feel uneven, but it flows brilliantly and should be hailed as a significant achievement.
    • 75 Metascore
    • 80 Critic Score
    This is a tremendous album that provides a new favourite each time you listen.
    • 73 Metascore
    • 80 Critic Score
    The rousing music shows The Black Keys have plenty of rock’n’roll fire left in their bellies. ‘Let’s Rock’ certainly proves the electricity’s still there.
    • 76 Metascore
    • 70 Critic Score
    There are far more high points than low, all of which indicates that Pixx’s third album could well be something very special.
    • 81 Metascore
    • 80 Critic Score
    Leading The Raconteurs, the restlessly inventive maverick White and the sunnier, more straightforward tunesmith Benson really do complement each other well, mixing thrilling aggression with focused sweetness. White may have a much higher profile, but Benson brings a positive, restraining influence to some of his partner’s self-indulgent tendencies.
    • 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.
    • 81 Metascore
    • 80 Critic Score
    It’s an intriguing album with few dips (only Kanye’s verse on Puppet sounds rather phoned in and lacklustre), and it adds up to Tyler, The Creator’s best work to date. He may not be threatening Western civilization anymore, but he is creating something far more interesting.
    • 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.
    • 82 Metascore
    • 90 Critic Score
    Another six-minute effort closes the album, Ducter, and like all the album’s best tracks it manages to navigate all the band’s best checkpoints of note, showcasing those spellbinding vocals and extraordinary percussion as they tread a truly staggering path. Schlagenheim will open up a whole new bottle of weird, if you let it in. It’s Troutmask Replica for a new generation, or perhaps it’s Can attempting to recreate the madness that Captain Beefheart’s enigmatic classic contained.
    • 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.
    • 83 Metascore
    • 80 Critic Score
    A Bath Full Of Ecstasy might be a somewhat eccentric name, but it ultimately does sum the album up rather well (assuming it means the abstract emotion rather than literal pills stacked up in a bathtub): a lush, adventurous experience, immersive and refreshing.
    • 72 Metascore
    • 90 Critic Score
    More restless than Solan Goose, Sule Skerry is always on the move, constantly changing but all the more exciting and compelling for it.
    • 79 Metascore
    • 80 Critic Score
    There could be an argument that a couple of edits to make the track listing shorter would have resulted in an even more effective album. However, this is easily one of the best pop albums of the year as it is: one that’s unlikely to be bettered unless a certain Ms Swift really pulls it out of the bag.
    • 88 Metascore
    • 80 Critic Score
    At over an hour long, this isn’t an album to dip in and out of--it’s that rare album that you have to commit to, and let it wash over you.
    • 84 Metascore
    • 100 Critic Score
    Western Stars is, annoyingly, another fantastic album to add to your rotation. But then it is a Bruce Springsteen album. Of course it’s superb.
    • 82 Metascore
    • 80 Critic Score
    This new, untitled beast is another step to Rammstein finally being acknowledged as being the best heavy metal band in the world, and one of the best hard rock acts of all time.
    • 85 Metascore
    • 70 Critic Score
    Overall The Book Of Traps And Lessons is best with a healthy dose of thoughtfulness and nuance, and while it falters on the occasions when these are disregarded, this album is another example of why Tempest’s spoken-word works now routinely amplify well beyond her poetic beginnings.
    • 70 Metascore
    • 90 Critic Score
    Bold, bizarre, brazen and beguiling, Madame X is Madonna living her Latin American Life. Brilliant.
    • 77 Metascore
    • 80 Critic Score
    Fans of either Calexico or Iron And Wine should be pleased with this full-length collaboration, which feels very much like a joining of two halves to make a larger, rather special whole.
    • 80 Metascore
    • 80 Critic Score
    The songs effortlessly speak to all classes, to all walks of life, from a songwriter who never sings down to his audience. As always, Richard Hawley is one of us.
    • 77 Metascore
    • 80 Critic Score
    It is pop music for the future – unpredictable, forceful, winsome and primal in equal measure. As long as Aurora is allowed to keep her eyes wide open, the sky really is the limit for this powerful creative force.
    • 83 Metascore
    • 70 Critic Score
    Renegade is lots of fun, even if it’sa few tracks short of its true potential.
    • 77 Metascore
    • 80 Critic Score
    Office Politics is, as with most Divine Comedy releases, a record with its finger firmly on the pulse of this zeitgeist.
    • 71 Metascore
    • 80 Critic Score
    While the aesthetic of Lust For Youth’s music may be dated on a surface level, good pop songcraft tends to become timeless once people have got used to it. And this self-titled album of theirs is full of this, tunes that work their way into the listener’s head and successfully strike a balance of being nostalgic without being derivative.
    • 82 Metascore
    • 70 Critic Score
    Plaid’s contemporaries from the early ’90s are in very different places now, with Aphex Twin incorporating styles footwork in his new releases and Autechre progressing further and further into uncharted terrain. This album, however, is from a duo mostly content to amble down memory lane.
    • 78 Metascore
    • 90 Critic Score
    An artist at the top of his game, with the newfound artistic freedom that Konnichiwa granted him but the energy of still having something to prove. It also confirms the 2010s grime revival as being more than a passing trend, and on this basis it’s stronger than ever.