cokemachineglow's Scores

  • Music
For 1,753 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:
1,753 music reviews
    • 89 Metascore
    • 100 Critic Score
    To Be Kind is as vital and unsettling as anything they’ve ever done, and displays a mastery of their craft that seems almost automatic at this point.
    • 97 Metascore
    • 97 Critic Score
    SMiLE has arrived as incredible and ground-breaking a record as any of us could have hoped.
    • 80 Metascore
    • 95 Critic Score
    A nearly perfect follow-up... [it] keeps intact Interpol’s singular melodic prowess, while both tightening its songwriting and making unpredictable shifts in instrumental emphasis.
    • 70 Metascore
    • 94 Critic Score
    The Friedbergers have made a cogent statement that leaves most other contemporary acts in the dust.
    • 93 Metascore
    • 94 Critic Score
    A caterwauling hunk of avant-garde precision.
    • 88 Metascore
    • 94 Critic Score
    The Woods is an incredibly intense rock record even by S-K’s lofty standards; it's a call to arms that will hopefully force complacent indie kids to demand more from their rock music.
    • 90 Metascore
    • 94 Critic Score
    What makes the album so gigantic is how intensely unique the state’s identity becomes filtered through one man.
    • 83 Metascore
    • 92 Critic Score
    Each song is either a seismic death rattle or aftershock.
    • 88 Metascore
    • 92 Critic Score
    Destroyer’s Rubies evinces an awareness of a feeling that “I’ve heard something like this before, and really enjoyed it” while denying the listener enough material specifics to follow-up with “It was on this record, recorded by this band, which I listened to when I was this old.”
    • 93 Metascore
    • 92 Critic Score
    Live at Reading is a corrective to all that [i.e. journals, Guitar Hero], a reminder that nothing so trivial could ever sully music as irreducible as this.
    • 84 Metascore
    • 91 Critic Score
    What sticks out most about Spoon, five albums in, is how singular they sound, like a jut of brilliant rock standing unfazed by crashing tides of trends and hopeful hype.
    • 81 Metascore
    • 90 Critic Score
    What makes Ghost succeed so magnificently... is how the directness, the openness of the lyrics in general, is so beautifully matched to the damaged music, which is itself rife with symbolism and meaning.
    • 88 Metascore
    • 90 Critic Score
    What they said.
    • 90 Metascore
    • 90 Critic Score
    Funeral... is a resounding success on all levels---the group clearly able to make something incredible out of the familiar, and something inexplicably moving out of one emotionally draining year.
    • 81 Metascore
    • 90 Critic Score
    While Picaresque is a significant step forward, it’s also a logical one. The band’s sonic palette has expanded gradually from album to album, and appears to have come full circle here.
    • 81 Metascore
    • 90 Critic Score
    Get Behind Me Satan marks the point where The White Stripes music has finally become as charismatic and mysterious as its creators.
    • 69 Metascore
    • 90 Critic Score
    29
    Taken all together, 29 is a staggering piece.
    • 85 Metascore
    • 90 Critic Score
    Dose’s clever, rich, image-gorged writing is at that forefront more than ever, and, mercy, does he ever slam down the goods.
    • 84 Metascore
    • 90 Critic Score
    I think Ga Ga Ga Ga Ga is the album of this year and maybe of the next.
    • 74 Metascore
    • 90 Critic Score
    OOIOO transforms what could be mush into wonderful, brilliant songs that fold and mutate the ideas they’re based on into moving and coherent narratives.
    • 94 Metascore
    • 90 Critic Score
    Kanye West had to do him; and lo and behold, he has. My Beautiful Dark Twisted Fantasy is the most cohesive and assured record in mainstream hip-hop since Jay-Z sketched his Blueprint (2001).
    • 77 Metascore
    • 90 Critic Score
    Deerhood vs. Evil is just simultaneously astounding and utterly familiar, correct, and right.
    • 84 Metascore
    • 90 Critic Score
    Kaputt is the sound of an artist released from his back catalogue and his own notions of how a song should be sung, or written. It is a mighty, mighty piece of work and really worth celebrating. In my mind, this is Destroyer's best album yet.
    • 87 Metascore
    • 90 Critic Score
    This is a majestic, ambitious record, and the best thing an already incredible band has ever released. The rest is noise.
    • 85 Metascore
    • 90 Critic Score
    A surprisingly quality recording of an incredible set, The Odessa Tapes plays like what it is: a miracle shrouded in modesty, and an ephemeral moment in time.
    • 86 Metascore
    • 90 Critic Score
    He, like his album, works best in its woozier, hushed moments.
    • 91 Metascore
    • 90 Critic Score
    This is the best rap album of 2012--not just because of champion verses and immaculate drops, but because they recognize that the most brilliant foreground only shines against a well-defined backdrop.
    • 81 Metascore
    • 90 Critic Score
    It is a stubborn, patient sharpening of their craft.
    • 79 Metascore
    • 90 Critic Score
    It’s a humble record, yet one with the timeless appeal to become a classic in league with the work of Waxahathee’s influences.
    • 84 Metascore
    • 90 Critic Score
    Trouble Will Find Me is impeccably sequenced, even at thirteen songs the rare National record that doesn’t contain “the one song they should have obviously left off.”