musicOMH.com's Scores

  • Music
For 4,722 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:
4722 music reviews
    • 70 Metascore
    • 80 Critic Score
    Here Ride aren’t just treading water so much as striking out for the horizon.
    • 81 Metascore
    • 90 Critic Score
    Although the departure of Weiss is sad, it hasn’t diminished any of Brownstein and Tucker’s power: The Centre Won’t Hold sees them as vital, compelling and as searingly relevant as ever.
    • 80 Metascore
    • 80 Critic Score
    Forevher is the sound of a woman happy, in love, and going from strength to strength as a songwriter.
    • 75 Metascore
    • 70 Critic Score
    It may not be there with their best work, and it might be seen by some as a bit of a stopgap, but there are still times on Thrashing Thru The Passion that The Hold Steady can effortlessly remind us that they remain the ‘best bar band in the world’.
    • 75 Metascore
    • 70 Critic Score
    There is a notable step forward, turning more towards a traditional soul style at the album’s core. There is a more natural groove, and the piano steps in more to complement the voice, even if this does sometimes lead to congestion on the instrumental side.
    • 79 Metascore
    • 90 Critic Score
    Blanck Mass’ style approaches speedcore in places, but Power ultimately creates music more nuanced and vivid than that genre label ever facilitated, and as such this album is highly recommended for all fans of experimental electronic music, as well as the noise and industrial side of things.
    • 88 Metascore
    • 100 Critic Score
    It might not be an easy listen at times, but make no mistake, this is a vital an important record and one that needs to be heard in order to make sense of it. A definite contender for album of the year and one whose impact will stand alongside Lou Reed‘s Berlin for years to come.
    • 61 Metascore
    • 80 Critic Score
    As a debut album it goes over well, with a convincing display of versatility and quality songwriting that firmly establishes Mabel as a force to be reckoned with in UK pop.
    • 72 Metascore
    • 70 Critic Score
    There may not quite be enough highlights to keep you clicking repeat indefinitely but, for a first glimpse of a new band that’s certainly got plenty of tongues wagging, Until The Tide Creeps In isn’t a bad outing at all.
    • 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.
    • 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.
    • 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.
    • 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.
    • 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.
    • 84 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.