cokemachineglow's Scores

  • Music
For 1,760 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:
1,760 music reviews
    • 84 Metascore
    • 85 Critic Score
    This, then, is the future fashioned out of the stuffs of past and present, out of maintaining a firm aesthetic while employing a staggering array of techniques, out of reaching for the proverbial stars. Tronic hits with the intrinsic revelation and self-evident relevance of new truth.
    • 89 Metascore
    • 85 Critic Score
    Animal Collective keep getting better.
    • 88 Metascore
    • 85 Critic Score
    When you get past the initial impressions of both "Silent Shout" (2006) and Monoliths & Dimensions, you find something not only stellar but surprisingly different from one’s initial impression.
    • 88 Metascore
    • 85 Critic Score
    Raekwon has not made a valid sequel to that classic--but he has quite validly added a couple hundred new bars to that performance.
    • 81 Metascore
    • 85 Critic Score
    I am aware that I am giving the following guy an 85% on Cokemachineglow. The thing is, he deserves it.
    • 85 Metascore
    • 85 Critic Score
    The thing Have One On Me absolutely excels at is the creation of remarkable moments amid its rambling odes.
    • 86 Metascore
    • 85 Critic Score
    Cosmogramma bursts with inventiveness; I've found myself careening around my apartment to sounds I don't recognize as of this Earth. That Lotus takes these vibrant ideas and sets them to pulses that move asses is incredible. Apparently everyone else is bouncing along in agreement.
    • 85 Metascore
    • 85 Critic Score
    Though High Violet sometimes ("Lemonworld," cough) veers dangerously close to self-parody, the National have crafted something exceptional: a massive, dynamic album that still makes good on the National's devotion to meticulous production and a sound they've kept simple and distinctive for a decade.
    • 91 Metascore
    • 85 Critic Score
    She is what we say we want. The ArchAndroid is not my favorite album of the year so far, but it is undoubtedly the best.
    • 87 Metascore
    • 85 Critic Score
    It's a staid achievement-a soundtrack to unwillingly letting go of the unsustainable, both figurative and literal.
    • 86 Metascore
    • 85 Critic Score
    Where the album really excels is in how it marries slightly absurd melodies to its lyrics to create a portrait of surreality and madness, as was so often rendered by those same Modernist poets Harvey cites as an influence.
    • 86 Metascore
    • 85 Critic Score
    Bon Iver, Bon Iver is wrought using a dazzling pointillism. Producer Vernon has carefully studded his album with thousands of cul-de-sacs of grace and poise and lavishly attended precision.
    • 79 Metascore
    • 85 Critic Score
    It's not perfect, but in the context of its subject matter one feels like its accidents are worth more than another album's successes.
    • 75 Metascore
    • 85 Critic Score
    Frankie's doesn't bear the weight of an obviously solo effort and at once succeeds in creating music that rivals any full-band effort from any of her peers.
    • 74 Metascore
    • 85 Critic Score
    Wong is at the apex of his songwriting. This is not to be missed.
    • 83 Metascore
    • 85 Critic Score
    It is a bright and rousing thing.
    • 83 Metascore
    • 85 Critic Score
    It works, but it doesn't make sense, and can't be explained. It can only be heard.
    • 66 Metascore
    • 85 Critic Score
    Funny, relevant, incisive, compassionate, and even profound-this is the stuff a Great album [is] made of.
    • 87 Metascore
    • 84 Critic Score
    Comparing The Dirty South to the last two Truckers’ records is like arguing over the merits of the first two Godfather movies. Either way you win.
    • 80 Metascore
    • 84 Critic Score
    Superwolf is Bonnie-era Oldham trying to channel Palace-era Oldham.
    • 81 Metascore
    • 84 Critic Score
    It takes more getting used to than their previous work, but it rewards even more for it.
    • 80 Metascore
    • 84 Critic Score
    The band have always been the holding of hands between kinda-Kyuss stoner rock and spazzy synth pop, but The Wedding is unique in that it is something conclusively Oneida but also conclusively marked of indie’s recent resurgence on the mainstream pop-cultural landscape.
    • 75 Metascore
    • 84 Critic Score
    When I say “melancholy masterpiece” I mean “beautiful, melodic progressive pop bombast with realistically contemplative lyrics," not “Damien Rice."
    • 84 Metascore
    • 84 Critic Score
    CYHSY’s songs ring of The Bends-era songwriting, but loungier, more playful, more comfortable in their own skin.
    • 83 Metascore
    • 84 Critic Score
    Franz Ferdinand have slightly tweaked the neo-Brit-pop genre – mixing in funk, dashes of punk, and a bit of disco – and come out with a sophomore album even more confident and hungry for glory than their debut.
    • 70 Metascore
    • 84 Critic Score
    With a Cape and a Cane sounds almost nothing like its predecessor; the songs ring a million times clearer and the hooks bite far harder.
    • 70 Metascore
    • 84 Critic Score
    The album is imminently listenable, providing a brisk background as easily as it rewards a close listen.
    • 76 Metascore
    • 84 Critic Score
    The Loon is nothing short of an incredibly focused song suite, minus all the extraneous frivolities that you’ve gotten too used to hearing from an "incredibly focused song suite."
    • 81 Metascore
    • 84 Critic Score
    It is often silly, occasionally ridiculous, always catchy as hell, and as loose as an album with this kind of production credit can be. What more could we ask from a pop record?
    • 81 Metascore
    • 84 Critic Score
    The sobering after-party to Wolf Parade’s debut.