cokemachineglow's Scores

  • Music
For 1,763 reviews, this publication has graded:
  • 51% higher than the average critic
  • 3% same as the average critic
  • 46% lower than the average critic
On average, this publication grades 1.1 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 100 To Be Kind
Lowest review score: 2 Rain In England
Score distribution:
1,763 music reviews
    • 77 Metascore
    • 48 Critic Score
    This might sound like a blunder, but Diplo can never be criticized for not being adventurous enough; though he can be criticized, magnanimously, for Major Lazer.
    • 75 Metascore
    • 48 Critic Score
    Each of these eight leftovers can be divided into rote, by-the-numbers Modest Mouse rock jams and meandering pseudo-experiments that feel, uncharacteristically and disappointingly, like nothing more than filler.
    • 66 Metascore
    • 48 Critic Score
    It's well-produced with some nice drums, but it simply has no reason to exist.
    • 66 Metascore
    • 47 Critic Score
    Plans is a shameless and famished record, the sound of pop slurping itself empty.
    • 79 Metascore
    • 47 Critic Score
    These songs contain all the accoutrements of anguish and despair: he sings the words, he screams the words. So why does it all sound so fake?
    • 71 Metascore
    • 47 Critic Score
    Yes, the beats are big and the sound is mainstream and commercial; however, the band sound restrained and uncomfortable.
    • 61 Metascore
    • 47 Critic Score
    LotusFlow3r achieves nothing so much as reliving the glory and joy of emulation, which is saddened by the image of Prince nudging our shoulders, urging us to relive with him.
    • 68 Metascore
    • 46 Critic Score
    Von
    What it lacks is Agaetis’ singularity of purpose, as well as its understanding that atmosphere should be an aesthetic by-product of songcraft and not the other way around.
    • 72 Metascore
    • 46 Critic Score
    Jim
    Ultimately, this is nothing more than workaday feel good bar music, technically well executed with the peaks and troughs in all the right places.
    • 72 Metascore
    • 45 Critic Score
    The vast majority of the new Roots album lacks what has made their earlier albums so exciting: spontaneity, originality, musical chops, and a sense of purpose.
    • 60 Metascore
    • 45 Critic Score
    This Youth Group record is a diluted version of already watered-down music; not only is it not as good as their first album, I’m not sure it’s as good as Keane’s first album.
    • 78 Metascore
    • 45 Critic Score
    While it’s very good at what the Band of Horses does best--providing a soundtrack to whistful moments or memories--unlike Everything all the Time there’s nothing here to grab onto, its songs merge together, and it’s so innocuous in the band’s trademark comfort that it can pass almost undetected.
    • 76 Metascore
    • 45 Critic Score
    It is logically a bloated, uncomfortable, saturated throwback to no genre, time period, or movement in particular.
    • 78 Metascore
    • 45 Critic Score
    I’ll be as straightforward in my assessment of his Trouble in Dreams as I can: this is his tenth solo album of the same old shit.
    • 71 Metascore
    • 45 Critic Score
    Like a professor spewing a semi-clever lecture on civil rights and contemporary left politics where he’s pretty good at rhyming his facts but acts like rhyming is all the sinew that his presentation needs to connect the bones of his argument.
    • 76 Metascore
    • 45 Critic Score
    From admittedly unsympathetic ears, it’s a fruitless mess caked with vanity and smothered by its own insular delusions of prosperity.
    • 67 Metascore
    • 45 Critic Score
    There’s nothing outstandingly terrible about Seaside Rock, but that’s what ultimately makes it kind of boring.
    • 75 Metascore
    • 45 Critic Score
    The Dead Weather makes smegma rock. It’s a squirming, nauseating label no doubt, but so is Horehound, convinced that skuzzed-up guitars and swamp blues roots demand sleaze, humidity, and grime.
    • 61 Metascore
    • 45 Critic Score
    It regresses to the essence of an increasingly stale sound with a series of second-rate tracks and bored performances. This is co-option at its base; you were a few years too early, Nick.
    • 70 Metascore
    • 45 Critic Score
    The Dead Weather have released another quickly recorded batch of entirely unmemorable, unpleasantly limp rock music showcasing Jack White’s increasingly irrelevant take on garage, blues, post-punk, and guitar refuse.
    • 70 Metascore
    • 45 Critic Score
    Welcome to Condale is a study in tactless excess, the sheer volume of inebriating nostalgic moments intended to overwhelm the lukewarm medium by which they're delivered.
    • 57 Metascore
    • 44 Critic Score
    Whether or not Human After All - which of course, has not a single purely human voice in its midst - is supposed to be some great stroke of pop irony or self-reflexive wink is irrelevant. Boring, empty music that thinks it’s making a point is condescending and pedantic.
    • 61 Metascore
    • 44 Critic Score
    The point being that this album isn’t “terrible,” just sort of dull and boring.
    • 56 Metascore
    • 44 Critic Score
    It shouldn't come as a shock that Bionic is not a very good record. What should is that the conversation about how bad it is has become one of the most vitriolic and fascinating conversations pop music has recently provoked.
    • 75 Metascore
    • 43 Critic Score
    As formulaic and boring a rock album as you’re likely to hear in 2005.
    • 74 Metascore
    • 43 Critic Score
    As bland and timid a record as likely to come out in the strikingly boring year of 2006.
    • 67 Metascore
    • 43 Critic Score
    Every song seems like it all went through a grime factory conveyor belt, and at the expense of being cohesive, Public Warning grows a bit repetitive.
    • 66 Metascore
    • 42 Critic Score
    It has more than enough moments to make it a solid album, had Joel Petersen stayed with instrumental electroclash. It’s just that the lyrics are god-awful strands of post-teen angst monotonously spoken with the rhythm.
    • 76 Metascore
    • 42 Critic Score
    It’s sad when a band runs out of ideas.
    • 66 Metascore
    • 42 Critic Score
    Even when the songs work (rarely), the band doesn’t; even when the lyrics work (read: never), the music doesn’t; even when guitars aren’t processed to sound like a cat in a dishwasher, the riffs suck.