cokemachineglow's Scores

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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 1.8 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 100 Art Angels
Lowest review score: 2 Rain In England
Score distribution:
  1. Positive: 1,444 out of 1772
  2. Mixed: 270 out of 1772
  3. Negative: 58 out of 1772
1772 music reviews
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    • 80 Metascore
    • 80 Critic Score
    Leave Home
    Leave Home is manna for white noise aficionados and anyone who thought the last Future of the Left record was far too tempered (yeah that's right). The Men have done a good thing here.
    • 77 Metascore
    • 84 Critic Score
    Weekend at Burnie's
    At some point in that outrageous lifestyle that flips between videogames and spitting stoned, stupid raps, he makes hard, smart decisions about what to lend his voice to and how that should be packaged.
    • 85 Metascore
    • 77 Critic Score
    New Brigade
    A punk band with a Steely Dan fixation they most certainly are not, but in their best moments these kids do rouse something as opulently degenerate and self-destructively lax as the Dan's cleanest work.
    • 67 Metascore
    • 71 Critic Score
    Free Time
    Shonen Knife can do a lot of things, but country music apparently isn't one of them. Where some may revel in how they don't fuck with the formula that's persisted over their extensive career, others will reach for fan favorite Let's Knife (1992) or save their money; that economic crisis Yamano maybe sings about is still happening, you know.
    • 86 Metascore
    • 78 Critic Score
    Bon Iver
    This album just goes to show that when Vernon does manage to find that perfect balance of production and deep-in-the-gut songwriting, it is going to be shattering. Even the harshest critics among us may, for a moment, forget about our thumbs.
    • 73 Metascore
    • 73 Critic Score
    The Best of Gloucester County
    Danielson's past successes may have been the work of a hundred voices gathering 'round to sing the same joyous song, but the most successful parts of The Best of Gloucester County embrace a different kind of communion altogether. Not just the community of Gloucester County, or New Jersey, or the indie rock or Christian communities, but one of all things.
    • 73 Metascore
    • 79 Critic Score
    The Grand Theatre, Vol. 2
    Old 97's have maintained a kind of winking positivity, which is perhaps the key to their longevity. The Grand Theatre Vol. 2 embraces this unashamedly.
    • 73 Metascore
    • 65 Critic Score
    Absolute II
    The album's aesthetic conceit may read better on paper than it plays on record, but it's hard not to be impressed by Oneida's continued dedication to experimenting with what is now perceived as their core sound.
    • 77 Metascore
    • 70 Critic Score
    Go Tell Fire To The Mountain
    Go Tell Fire to the Mountain, and WU LYF in general, are a band handicapped, seeming less like an actual group and more of an experiment. In what? In determining how much vocal pain listeners are willing to endure if the underlying music is actually pretty good.
    • 72 Metascore
    • 80 Critic Score
    BlackenedWhite
    That BlackenedWhite doesn't really bother with the kind of extreme lyrical content Bastard and Earl traded in is what makes it an infinitely more enjoyable listening experience on just the most basic level.
    • 78 Metascore
    • 77 Critic Score
    It's All True
    By no means is It's All True a masterpiece; the duo don't stick their necks out enough to entertain that notion. But by creating a palpable tension between smart songwriting and their knack for texture, Junior Boys have pulled a legacy back from the brink of indifference.
    • 67 Metascore
    • 78 Critic Score
    Was I the Wave?
    Van Pelt is not designing sounds to blow us into a new paradigm, but crafting textures to drawn us in, to subsume, to mesmerize, and perhaps, through a combination of these effects, to softly awe.
    • 71 Metascore
    • 68 Critic Score
    Sagara
    So Sagara sounds necessarily and unavoidably at odds with itself, a not wholly successful balancing act that lands its objects within sight and some distance from where its artist intended, but the effort is commendable and important.
    • 81 Metascore
    • 78 Critic Score
    Burst Apart
    Burst Apart, while far from perfect, is sort of a special album.
    • 80 Metascore
    • 77 Critic Score
    Goodbye Bread
    Goodbye Bread specializes in this kind of twisted subtlety; no longer content letting loose and letting the detritus fall where it may, Segall has crafted a record both familiar and surprising, both sunny and spooky.
    • 80 Metascore
    • 77 Critic Score
    Random Axe
    Milk's musical vision is the binding force behind Random Axe and it's something that Price and Simpson clearly believe in; thus, all their bragging about how essential their complete gullyness is to the rap game. Because, despite lines crossed and opportunities missed, it sort of is. Nothing so far in 2011 has a total aesthetic and attitude that goes as hard as this.
    • 75 Metascore
    • 72 Critic Score
    We Must Become the Pitiless Censors of Ourselves
    As a whole, We Must Become the Pitiless Censors of Ourselves doesn't necessarily offer the highs of his past two albums, or something as immediate as "Rights for Gays," but it is a remarkably cohesive listen.
    • 75 Metascore
    • 67 Critic Score
    PL3DGE
    On Pl3dge, Killer Mike is often captivating, but his politics are just noise.
    • 83 Metascore
    • 88 Critic Score
    Black Up
    Like on that grand finale the production on Black Up is meticulous but furtive, always pushing forward, often unwilling simply to loop. And Butler's rapping sounds perfectly at home in this sometimes chaotic environment, kicking it amidst the kinetic verve of his beats.
    • 73 Metascore
    • 70 Critic Score
    4
    She's still a nearly peerless vocal performer, and if that's the one edge she retains over her otherwise edgier contemporaries, then it's probably for the best that her material be simple enough for her voice to really shine.
    • 76 Metascore
    • 75 Critic Score
    Howl Of The Lonely Crowd
    Howl of the Lonely Crowd is a strong, seasoned indie-pop record that'll sustain the cult while opening up yet another avenue for the curious to stumble across one of the more tragically ignored bands of their time.
    • 77 Metascore
    • 68 Critic Score
    Loud Planes Fly Low
    The most interesting thing about Loud Planes Fly Low is the way it uses that rift, confronting the inherent tension and wringing it out. It may not be Howard and Crisp's best work to date, but it's perhaps their darkest, sincerest, and least expected.
    • 78 Metascore
    • 75 Critic Score
    Channel Pressure
    More than anything else, Channel Pressure is a triumph of studio craft and evidence that the group has as much potential as producers as they do as composers.
    • 86 Metascore
    • 78 Critic Score
    David Comes To Life
    The narrative of David is not quite as cohesive as Fucked Up think it is, the lyrics too cliché, but if writing a rock opera was the impetus required to push them to produce an album as gloriously overblown as David Comes to Life, then it's worth a thousand dead Veronicas and even more mopey dorks to mourn them.
    • 65 Metascore
    • 63 Critic Score
    The Return of Mr. Zone 6
    Return is largely bereft of the chintzy, minimal Zaytoven beats dominating previous Gucci releases, and in their stead exists the dense ominousness Luger peddles so brilliantly.
    • 82 Metascore
    • 82 Critic Score
    Teenage Hate
    Teenage Hate is the kind of record best heard straight through, as it's hard to pick out and pick apart particular songs.
    • 85 Metascore
    • 81 Critic Score
    Smother
    Poised as hyper-indulgent fellas, Smother is a startlingly controlled album, one that's exactly as smooth and smoldering as its moniker posits.
    • 77 Metascore
    • 65 Critic Score
    Take Care, Take Care, Take Care
    Take Care, like all of the EITS albums, still has quite a lot going for it: its bombastic gestures are still appropriately dramatic, its production still crackles and shines exquisitely, its conventional undulations are still paced for maximum emotional effect. But there is no surprise or wonder to be found here, no chances or risks taken.
    • 69 Metascore
    • 66 Critic Score
    Street of the Love of Days
    Despite being quite well-realized and able to sustain a single mood for so long, the album sounds increasingly like a missed opportunity as it progresses, with the two songwriters' work almost never achieving a real sense of cohesion.
    • 79 Metascore
    • 77 Critic Score
    Underneath the Pine
    You can get long way into Underneath the Pine without gaining any clear impression of exactly what kind of record it is that you're listening to. But amorphous isn't the worst thing in the world to be.
    • 79 Metascore
    • 81 Critic Score
    Gloss Drop
    Gloss Drop shows a band still well ahead of the curve in terms of how they perform music, and one that understands how an aesthetic can be stretched to its most experimental limit and retracted to a simple confection without a wide chasm between the two modes of expression.
    • 69 Metascore
    • 71 Critic Score
    Bachelorette
    Bachelorette is not as immediate or inviting as My Electric Family, but I'm hesitant to condemn it for this. It's simply a different listening experience, one which creates a different mood.
    • 76 Metascore
    • 71 Critic Score
    Circuital
    It's a solid, un-embarrassing, simple-minded record that will do nothing to My Morning Jacket's reputation as one of the greatest American rock bands every American can, and will, get behind. Here's to riskier futures.
    • 72 Metascore
    • 83 Critic Score
    Laced
    Laced is more than a real step-up for Psychedelic Horseshit, it's the best album of its kind I've heard this year.
    • 71 Metascore
    • 73 Critic Score
    Bury Me in My Rings
    So, yeah, Bury Me in My Rings is yearning indie pop, sometimes overwrought, sometimes appealing in its dorkiness.
    • 75 Metascore
    • 74 Critic Score
    Dead to Me
    If surf-rock is, at least for the time being, dead - or something that only feels briefly alive in scattered moments - then Girls Names is the last whiff and remnant of its spirit, whispering under the door and darkly skulking in the corner shadows.
    • 75 Metascore
    • 65 Critic Score
    The Double Cross
    It reaffirms the band as is, is a portrait of four musicians celebrating their existence rather than the question of self.
    • 70 Metascore
    • 77 Critic Score
    Air Museum
    Air Museum lays to rest the shortlist of uncertainties I've pinned on Mountains in the past--mostly by not changing much.
    • 82 Metascore
    • 82 Critic Score
    Everything's Getting Older
    Everything's Getting Older proving that, despite his wrinkles and back ache, Moffat's never going to shave his head/convert to Buddhism, and is still the scowling, contemptuous, but eloquent philanderer he was when he was tearing up the '90s--except now, he's a little more comfortable, and attacks using serene piano accompaniments.
    • 74 Metascore
    • 73 Critic Score
    Hotel Shampoo
    This is Rhys wholly in his wheelhouse: offering up a handful of standalone highlights and clever deep cuts, hitting pleasure centers along the way, and quietly adding to a catalogue as deceptively substantial as anyone currently working the pop circuit with fifteen years behind and at least another fifteen ahead.
    • 71 Metascore
    • 76 Critic Score
    Terra
    Even amongst his New Jersey-based peers and labelmates, Lynch's work remains disconnected from pop and from folk music while never being truly disengaged with it, and Terra serves as major evidence of his growing confidence as a composer and player.
    • 78 Metascore
    • 76 Critic Score
    The Dissolve
    There are a few moments on side B that could fool you you've picked up an old Orb album, but otherwise The Dissolve is very forward thinking. Picture a melting pot on par with Burt Bacharach's.
    • 79 Metascore
    • 80 Critic Score
    Diaper Island
    He uses his guitar and ghost-like warble to render the ephemeral as concrete as cantaloupe.
    • 75 Metascore
    • 72 Critic Score
    The Moonlight Butterfly
    With The Moonlight Butterfly, the Sea and Cake are in no danger any time soon of fasting in light of their diet of quality white bread, and it's not like anybody who is purchasing a "mini-album" from this band expects otherwise.
    • 74 Metascore
    • 83 Critic Score
    Own Your Ghost
    It is a cohesive suite of powerfully effective songs with one thing on its mind: "the inexorable march of Time."
    • 85 Metascore
    • 70 Critic Score
    Helplessness Blues
    Robin Pecknold's well-chronicled bout with writer's block and three years later, Helplessness Blues has arrived, and the good news is that it unquestionably sounds like a Fleet Foxes record-which is to say: warm and exquisitely pretty.
    • 76 Metascore
    • 73 Critic Score
    Hit After Hit
    Hit After Hit doesn't achieve its titular goal completely and totally. It does come fairly close, though, and makes strong cases for the tunefulness of San Francisco's new garage music, Smith as a songwriter, and the appeal of something done straightforward if also done well.
    • 73 Metascore
    • 80 Critic Score
    Dancer Equired
    Dancer Equired is short at thirty minutes, but it does the job of re-leasing Times New Viking's mad energy.
    • 83 Metascore
    • 84 Critic Score
    Eye Contact
    More critically, though, is that Eye Contact works very well as a stamp on this band's original turn with Saint Dymphna: now that we know that a lot of their contemporaries were also going to turn in this direction, it's nice to see a band that was once ahead of the curve still working so hard to keep their sound this fascinating.
    • 54 Metascore
    • 70 Critic Score
    With Our Heads In The Clouds And Our Hearts In The Fields
    With Our Heads is a lonely, long stretch of un-anchored time passing, the audible, honest-to-god equivalent of switching one's mind into Airplane Mode and eyeing the smooth, barely altered upper cloudscape for the duration of a flight.
    • 74 Metascore
    • 81 Critic Score
    Wit's End
    The core of his sadness may still be a mystery to me, but his monument to it, in all its eccentricity, is by far the hardest thing to ignore that he's done yet.
    • 86 Metascore
    • 88 Critic Score
    Who Kill
    w h o k i l l is probably the most inviting album you'll hear this year.
    • 78 Metascore
    • 78 Critic Score
    Secret Walls EP
    The Fresh & Onlys have achieved something captivating with Secret Walls, conjuring up vast, mysterious spaces within economical songs, songs demanding repeating listens to decipher.
    • 79 Metascore
    • 73 Critic Score
    I Am Very Far
    Sheff is he orchestrator, but through all the manipulating elements, all the new band members, Sheff seems to be more at odds with his art than ever before.
    • 75 Metascore
    • 81 Critic Score
    Apocalypse
    Callahan's made plenty of fine albums-some of which boast higher highs than this one-but Apocalypse is such a satisfying and downright elegant listen because of its commitment to a narrative arc; as soon as it ends and you step back, the album takes the shape of a remarkably complete thought.
    • 77 Metascore
    • 84 Critic Score
    Tomboy
    Sometimes, in the wrong mood, Tomboy can come across as eleven great songs chipping away at each other.
    • 73 Metascore
    • 71 Critic Score
    Here Before
    Sure, the record isn't very functional outside of its given context, but if you've tuned into this program before then it'll be nice to know that one of the most congenial of indie pop acts can still deliver on their good name and to their respective audience in equal measure.
    • 78 Metascore
    • 81 Critic Score
    Salon des Amateurs
    Salon des Amateurs is undeniably an important album for Hauschka, both for its distillation of his rigorous methods and its energized perspective.
    • 85 Metascore
    • 84 Critic Score
    Street Halo
    Street Halo shows his commitment to his music both by tweaking it and sticking to the formula. It still makes him capable of bridging the brutal and the delicate. Only experienced crisis negotiators can say that.
    • 78 Metascore
    • 78 Critic Score
    Wasting Light
    Wasting Light is as good as mainstream arena rock gets now, twenty years after the fact.
    • 80 Metascore
    • 75 Critic Score
    C'mon
    C'mon doesn't break much new ground for Low in the way that their last two records did, and that's clearly not the goal here.
    • 67 Metascore
    • 74 Critic Score
    Share the Joy
    Share the Joy represents growth for Vivian Girls, though they're not totally there yet.
    • 71 Metascore
    • 67 Critic Score
    Cherish the Light Years
    If this is your thing, you'll be happy (sad?) to hear that Eisold has done it again, and offers us yet another beautifully written and comprehensively detailed chapter in the endless book of self.
    • 76 Metascore
    • 79 Critic Score
    Badlands
    It's never a matter simply of pop melodies buried beneath noise, but of beauty wrapped up in menace, references tied to deeper ones, history feeding back at itself.
    • 83 Metascore
    • 78 Critic Score
    Nostalgia, Ultra.
    Introspection of this kind can be a difficult thing to pull off convincingly, but Nostalgia never veers too far into sentimentality to let its edges be sanded down.
    • 77 Metascore
    • 72 Critic Score
    W.A.R. (We Are Renegades)
    Ultimately, that is the problem with most of W.A.R., though. Monch is so busy adopting the typical backpacker agenda of putting himself at odds with the mainstream that he takes steps towards a new conformity instead of just destroying sh*t.
    • 87 Metascore
    • 83 Critic Score
    House of Balloons
    House of Balloons is an album suspended in contradiction--a collection of sex jams tired of sex, or a paean to coke addled irretrievably by the same. It lacks dynamism because it has to; the Weeknd know nothing else, just that in every solid groove lurks the metronomic pulse of something waiting to die.
    • 74 Metascore
    • 79 Critic Score
    Baseball Project, Vol. 2: High and Inside
    Volume II: High and Inside picks up exactly where its revelatory predecessor left off, but this time welcoming a few more indie-world guest stars, having a few more stories to tell, and reveling in slightly more robust production.
    • 82 Metascore
    • 81 Critic Score
    The One... Cohesive
    They're also carrying on in the tradition of independent rap artists from the fertile early 2000s, producing whatever they damn please and selling it for ten bucks. An uncompromising approach can lead to disaster, either financially or creatively, but COHESIVE is the paradigmatic fruit of such an approach.
    • 69 Metascore
    • 68 Critic Score
    Common Era
    No matter how good these songs are (and many of them are quite good), the finished product is underwhelming, and I can only hope that I don't have to wait another half-decade to hear where they go next.
    • 59 Metascore
    • 77 Critic Score
    Rolling Papers
    On Rolling Papers, Wiz Khalifa's personality shines through: unobscured, stoned, brilliant.
    • 77 Metascore
    • 83 Critic Score
    All Eternals Deck
    All Eternals Deck, the band's first album for North Carolina superindie Merge, effectively picks up from where the apocalyptic finale of The Life of the World To Come (2009) left off.
    • 76 Metascore
    • 74 Critic Score
    Belong
    After all, the Pains of Being Pure at Heart never promised reinvention, and Belong is another solid soundtrack to summer afternoons lounging on bedspreads, making collages, flashing back to one's own days as a teenage outcast-however far in the past they may be.
    • 71 Metascore
    • 77 Critic Score
    Angles
    Angles manages litheness; First Impressions was all sludge. And despite the rumored ills surrounding the recording process, the resulting album paints the band as re-energized and optimistic, playful in a way their last record so detrimentally wasn't.
    • 70 Metascore
    • 78 Critic Score
    Factorycraft
    Basically, if you're a Suede fan looking for a way forward in 2011, then factorycraft is your personal lifeline, a snake-hipped mating dance with a guy who's got a mouth like a Hearts supporter, a mouth that exists purely to confess-jealously, restlessness, rashes, warts, and all. Happy scratching.
    • 71 Metascore
    • 75 Critic Score
    Collapse into Now
    If there's any band that's completely earned the right to gracefully knock themselves off, it's R.E.M. It only took them fourteen years.
    • 82 Metascore
    • 83 Critic Score
    Smoke Ring for My Halo
    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.
    • 71 Metascore
    • 73 Critic Score
    Reptilians
    Reptilians is a batch of competent dance-pop-not as groundbreaking as fans have hoped, not as obnoxious as non-fans may've assumed-overcompensating for all the patience they've tested and the goodwill they squandered on their looping baby-steps back to the Starfucker moniker.
    • 66 Metascore
    • 65 Critic Score
    What a Pleasure
    While their debut showed a lot of promise, Beach Fossils still haven't really set themselves apart from every other band practicing the same pleasant murmurs of personality.
    • 68 Metascore
    • 70 Critic Score
    Too Beautiful to Work
    Too Beautiful to Work isn't focused enough to create an atmosphere that whole, and for all the virtue of its experimental tendencies, "Cold Canada" shows the record might have fared better if it wasn't so antsy.
    • 86 Metascore
    • 81 Critic Score
    Space Is Only Noise
    Space is Only Noise is delivered with an impressive restraint, especially for a debut LP and from an artist of Jaar's age, its songs warm and dense whilst seeming full of negative space, gentle and humorous whilst threatening claustrophobia.
    • 78 Metascore
    • 66 Critic Score
    Several Shades of Why
    It's not that Several Shades doesn't showcase Mascis's talents. It just denies us his flashiest ones.
    • 77 Metascore
    • 77 Critic Score
    The King Is Dead
    A good few years on from the rise and partial Fall of the Decemberists, Meloy and Co. are managing, still, to carry the fire.
    • 84 Metascore
    • 77 Critic Score
    Passive Aggressive: Singles 2002-2010
    The peaks are good, obviously; but they're just peaks. And the dips are experimental fun but together they sound like curios. Still, the unfortunate sequencing aside, Passive Aggressive is a great compilation-especially so for those uninitiated with the band.
    • 73 Metascore
    • 77 Critic Score
    Peer Amid
    The hyperactive channel surfing of most punk music is here eschewed in favor of rumination on individual sounds, hypnotic repetition having more in common, perhaps, with ambient or noise than conventional rock. And like the best of those other genres, the album is finely scoped to just these eight complimentary, textural songs.
    • 83 Metascore
    • 76 Critic Score
    Wounded Rhymes
    Wounded Rhymes' moments of true daring are few, but it's the first indication that Li's turning a critical eye on her own style-and that she's got a knack for reinvention.
    • 79 Metascore
    • 70 Critic Score
    Living with Yourself
    So Living With Yourself is a lot like, well, living by yourself-comfortable, unchallenging, plenty of time to get introspective and think about things that once were.
    • 71 Metascore
    • 81 Critic Score
    Port Entropy
    Port Entropy, Shugo's fifth LP (depending on how you reckon Fragment, his 2003 CD-R self-release), decisively occupies the realm of the waking: the nimble, the abstract, and the exciting.
    • 68 Metascore
    • 80 Critic Score
    Nothing Fits
    There's no doubt that Nothing Fits is a high-pressure, unflagging, and energetic piece of work. But it's also fun, frequently lowbrow, and--to the heathenish--a bit backward.
    • 69 Metascore
    • 68 Critic Score
    Sun Bronzed Greek Gods
    Sun Bleached Greek Gods is a perfectly serviceable introduction to the latest hot-off-the-grill, young, immortal, unemployed, nearly insufferable bedroom pop outfit.
    • 78 Metascore
    • 77 Critic Score
    Go-Go Boots
    The Drive-By Truckers remain a distinctly American band, a band whose stories are on equal footing with the music beneath.
    • 82 Metascore
    • 82 Critic Score
    The Magic Place
    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.
    • 72 Metascore
    • 71 Critic Score
    Seefeel
    This is serious sound art, and it evokes a now near-mythical pre-Recession time when experimental artists didn't feel the need to obliquely reference the outside world.
    • 80 Metascore
    • 65 Critic Score
    The King of Limbs
    Interestingly, the very qualities that make this a subpar Radiohead album are what make it their most experimental record yet. But this is also Radiohead elliptically circling back on themselves in dramatic form.
    • 81 Metascore
    • 62 Critic Score
    Yuck
    Listening to Yuck is kind of like having a conversation with someone who agrees with everything you say. Pleasant at first, it eventually and quickly feels useless.
    • 79 Metascore
    • 77 Critic Score
    Shapeshifting
    It's thus a relief to see something, anything, resembling a coherent full-length emerge from that group of musicians, and for it to be as good as Shapeshifting is. More than anything, though, this is a success for Young Galaxy, who prove themselves far more versatile and open than they ever did before, and, as such, are likely to win over a new whole new audience.
    • 86 Metascore
    • 85 Critic Score
    Let England Shake
    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.
    • 79 Metascore
    • 74 Critic Score
    No Time for Dreaming
    Fans of old school R&B (or really, any of Daptone's artists) would do well to give him a fair shake. It also goes without saying that everything on No Time for Dreaming will sound better live. Bring your megaphones; here's a guy impossible not to root for.
    • 67 Metascore
    • 76 Critic Score
    Blow Your Head: Diplo Presents Dubstep
    While most dubstep producers are working with the same ingredients, Blow Your Head reveals how those ingredients can yield beautifully varied results.
    • 86 Metascore
    • 76 Critic Score
    Ravedeath, 1972
    Generally speaking that's good enough, especially since trying to find specific meaning in this kind of music is a largely futile exercise that I and others at CMG still occasionally agonize our way through against our better judgment. Perhaps the appeal of this music lies in nothing more or less than how painstakingly moulded it is, and in that respect Hecker will probably always release really impressive records.
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