cokemachineglow's Scores

  • Music
For 1,772 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 1.3 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 To Be Kind
Lowest review score: 2 Rain In England
Score distribution:
1772 music reviews
    • 78 Metascore
    • 83 Critic Score
    Witching Hour could stand to be about two tracks shorter, but its quality comes as an unexpected, and highly welcome, surprise.
    • 79 Metascore
    • 83 Critic Score
    While This is Goodbye does suffer, like Last Exit, from being a little too consistent (there’s very little variation in tempo or arrangement, or theme for that matter), it's as cohesive a listening experience as almost any album I’ve heard this year.
    • 83 Metascore
    • 83 Critic Score
    The best songs on Music Tapes For Clouds And Tornados feature just Julian and banjo.
    • 82 Metascore
    • 83 Critic Score
    Vile has slyly written pop that enters one's head without leaving much of a permanent mark; instead of a distraction from one's deeper woes, it's chameleonic accompaniment.
    • 80 Metascore
    • 83 Critic Score
    In short, this is not only more like it--this is possibly Deerhoof’s best album, lingering nostalgia issues with Reveille aside.
    • 80 Metascore
    • 82 Critic Score
    On the surface, Replica's focus on the measured emergence of harmony seems to capture a bit of the modern struggle to find some sense amidst a constant bombardment of careless repetitions, to uncover a beautiful pattern in the digital noise of the everyday.
    • 82 Metascore
    • 82 Critic Score
    Whatever these songs lack in immediacy, they rebound with an artistry.
    • 76 Metascore
    • 82 Critic Score
    "Murder," "skimask," and "gangsta," all appended with the word "shit," are the terms in which Gibbs characterizes his oeuvre. Str8 Killa is all of those things. It is also breathtaking in its execution.
    • 78 Metascore
    • 82 Critic Score
    Mothertongue oscillates between the comfort/terror of singularities and excitement/terror of potentialities, but the possibilities this duality affords for Muhly’s future work are frankly exhilarating.
    • 75 Metascore
    • 82 Critic Score
    It’s like listening to a strong feeling that yearns to be vented, but instead is left inside its confining limits, echoing on itself.
    • 71 Metascore
    • 82 Critic Score
    Together is paced excellently at a little over 44 minutes, feels like half of that, and not a single song warrants a skip.
    • 86 Metascore
    • 82 Critic Score
    With Black Sheep Boy, Okkervil River have made the kind of minor classic that will inspire obsessive-compulsive love affairs with the lucky people who stumble upon it.
    • 80 Metascore
    • 82 Critic Score
    Once the shock of the new dissipates, what’s left is an impeccably assembled record worth indulging with the vigor that any of Lindstrom’s Christabelle-less work deserves.
    • 73 Metascore
    • 82 Critic Score
    Black Sands is an album so fully realized that comprehending the places he still so obviously has yet to reach is staggering.
    • 71 Metascore
    • 82 Critic Score
    Panic Prevention is no classic, but a wonderful testament to intuition, which boisterously, and rightfully, posits Jamie T in that rare class of pioneering artist, one who has created a piece of work to stand with any of the other notable records released so far this year.
    • 56 Metascore
    • 82 Critic Score
    If for no other reason than that VanGaalen is perfectly content to be an intuitive outsider to this “outsider” genre of music that he unplies, his Black Mold tastes fresh and new and, ultimately, life-giving to the likes of us.
    • 80 Metascore
    • 82 Critic Score
    We, The Vehicles is a fine collection of songs by a band running on all cylinders.
    • 78 Metascore
    • 82 Critic Score
    Comfort of Strangers isn’t only Orton’s best album to date, it’s her most daring.
    • 82 Metascore
    • 82 Critic Score
    It makes for a remarkable debut full-length-just don't expect to see any of it scoring some slow-motion spinning or pastel unicorns when those Pure Moods commercials make their inevitable comeback.
    • 84 Metascore
    • 82 Critic Score
    Outside the charismatic skill of Lidell's shapeshifting vocals and his forward-looking arrangements, the actual songs of Multiply aren't of as indelible an essence as the classics that they imitate.
    • 86 Metascore
    • 82 Critic Score
    It begins to sink in that this band has performed a theoretical feat of Hawking proportions: it has devised a fool-proof formula for the unformulaic.
    • 87 Metascore
    • 82 Critic Score
    If nothing else, Stars of the Lid have achieved Adam's goal of making music "to really relax to," abjectly defying intent listening, laying waste to the established vocabulary of music production and appreciation.
    • 78 Metascore
    • 82 Critic Score
    The style of songwriting is remarkably similar to that found on Teen Dream. Yet neither suffers much for it.
    • 87 Metascore
    • 82 Critic Score
    Celestial Lineage deserves every bit of attention it's garnered this year. I can personally put it on a shortlist of 2011 records that reinvigorated my confidence in metal in ways that I haven't felt in a long, long time.
    • 80 Metascore
    • 82 Critic Score
    Tigers cannot compete with an actual Case show, of course, and after Blacklisted we don't really need to be reminded of her talent, but, hell, why not?
    • 74 Metascore
    • 82 Critic Score
    What makes In Evening Air a great break-up album is the same thing that makes Teen Dream (2010) a great break-up album: it's not exactly that the lyrics espouse these profound, poetic truths about relationships so much as they use sonic patterns and pretty mundane language to create a sad and disorienting sense of something very familiar disappearing.
    • 74 Metascore
    • 82 Critic Score
    Aesop Rock’s terrifically brooding new record.
    • 76 Metascore
    • 82 Critic Score
    The album’s accompanying trappings do little to dull its impressiveness or the band’s command of its lineage.
    • 81 Metascore
    • 82 Critic Score
    Andrew Bird has thrown down his gauntlet brimming with post-structural imagery, swirling entropy, a truly floral arrangement of genre pieces and genre mixing.
    • 75 Metascore
    • 82 Critic Score
    Flockaveli is delivery-driven, then, in the best possible sense: it is a chorus of proficient, varied flows, avoiding the pitfalls of impotent swag music and pugnacious garishness.