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 Pimp A Butterfly
Lowest review score: 2 Rain In England
Score distribution:
1772 music reviews
    • 83 Metascore
    • 78 Critic Score
    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.
    • 83 Metascore
    • 80 Critic Score
    This is a break-up album, a cohesive work embodying a singular mood, and Nadler, like any great artist, sets the scene with such careful, immersive depth that it can be difficult to the seams in her work until you explore every inch.
    • 83 Metascore
    • 84 Critic Score
    Swans always understood better than most post-punk bands that the crushing, wall-of-sound repetition pioneered by Glenn Branca could be taken to its logical, nihilistic extreme in rock-n-roll.
    • 83 Metascore
    • 84 Critic Score
    Looping State of Mind both conquers and surpasses the only-so-many-pieces-in-the-box standards of most traditional dance forms by appeasing those crescendo/break/denouement expectations in name only.
    • 83 Metascore
    • 80 Critic Score
    At this point MacKaye and Farina are splitting vocal duties fairly, um, evenly, and the contrast between his weathered bark and her more soulful emoting creates a dynamic equally as fascinating as their instrumental dexterity.
    • 83 Metascore
    • 70 Critic Score
    For the most part, it works.
    • 83 Metascore
    • 84 Critic Score
    There is not a bad verse on it.
    • 83 Metascore
    • 90 Critic Score
    Old
    As a rap record, it excels.
    • 83 Metascore
    • 68 Critic Score
    As a breakup narrative, it’s successful. As pop music, it’s either too insular or simply unable to turn Silberman’s own experience into something one would desire to revisit.
    • 83 Metascore
    • 71 Critic Score
    Game Theory’s highs never quite reach those of Do You Want More?!!!??! or Illadeph Halflife (1996), and those albums, even with those highs, are still inconsistent affairs. Which means that the Roots are back on track, but the track itself was never something we praised wholeheartedly in the first place.
    • 83 Metascore
    • 86 Critic Score
    It is the best Swans live record in that it distills the essential loss of agency one is meant to endure as best as two little discs can manage.
    • 83 Metascore
    • 92 Critic Score
    Each song is either a seismic death rattle or aftershock.
    • 83 Metascore
    • 85 Critic Score
    It is a bright and rousing thing.
    • 83 Metascore
    • 80 Critic Score
    Baldi manages to find a comfortable place in between the all-potential pleasure-all-the-time approach of his first two records and the potential for all-out sad dude sonic violence, delivering a criticism of and break-up message to computer music by jettisoning every aspect of his work that could possibly be labeled as such.
    • 83 Metascore
    • 78 Critic Score
    Skying does for early '80s psychedelic Brit-rock what Primary Colours did for post-punk, and both are as satisfying with such goals as one can imagine. Can their '90s Seattle grunge tribute be far behind?
    • 83 Metascore
    • 83 Critic Score
    It's true the band has made a radical decision to turn down the volume on the wall of sound they've been building up since their debut, but in doing so they've turned up something else they've been fond of for so long: measured nuance.
    • 83 Metascore
    • 84 Critic Score
    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.
    • 83 Metascore
    • 69 Critic Score
    Sift through Are the Dark Horse and the sounds of the Beach Boys or Orbison can certainly be found, but the band has yet to learn the clean, economical songwriting of their influences.
    • 83 Metascore
    • 77 Critic Score
    These songs are enjoyable and beautiful and pure hip-hop --- glittering, hard diamonds that hopefully won’t get buried in the underground scene’s mounds of coal.
    • 83 Metascore
    • 87 Critic Score
    Nearly 1700 words and I still feel like this record's left me speechless. That's an epiphany to cherish.
    • 83 Metascore
    • 76 Critic Score
    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.
    • 83 Metascore
    • 81 Critic Score
    Tryptych is something of a good trade convention, showcasing just how Demdike's samples become reborn with a strong modern edge. You feel like you're privy to seeing something here that's all set to sweep across the market.
    • 83 Metascore
    • 70 Critic Score
    Majesty Shredding is an energetic return to form for Superchunk, and they've retained the sound that made them indie stars on records like No Pocky For Kitty (1991) and Foolish (1994).
    • 83 Metascore
    • 81 Critic Score
    Be
    Sure, there’s no “Watermelon” or “Communism”, but Be’s wit presents on a grander scale than a dependence on sprinkled, chucklable oneliners would allow.
    • 83 Metascore
    • 70 Critic Score
    At its best, DJ Quik and Kurupt’s BlaQKout is a disarming and unexpected update of the West Coast sound made entirely and staggeringly relevant in a long post-Coast rap landscape.
    • 83 Metascore
    • 78 Critic Score
    Excessive length aside, Brighter Than Creation’s Dark constitutes a solid rebound from the overly scattered A Blessing and a Curse.
    • 83 Metascore
    • 71 Critic Score
    while on a different album “Healter Skelter” might have been a wonderful bridge between some of the more structured stuff Shining used to do; on Black Jazz it’s just the most weird and interesting version of the same track we’ve already sat through three times.
    • 83 Metascore
    • 78 Critic Score
    Wild Flag is concise but jumpy, perhaps a party record in that sense.
    • 83 Metascore
    • 76 Critic Score
    It all adds up to blatantly catchy, deceptively simple wannabe-clever, can’t-help-but-be-cheeky art-punk.
    • 83 Metascore
    • 65 Critic Score
    Not the first single (“Rockin’ That Shit”) or the second (“My Love”) but hopefully the third, the title track of Love vs. Money is the sole moment where The-Dream’s artistry is actualized through, how else, an epiphany of self-loathing and regret.