cokemachineglow's Scores

  • Music
For 1,762 reviews, this publication has graded:
  • 52% higher than the average critic
  • 3% same as the average critic
  • 45% 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: 71
Highest review score: 100 To Pimp A Butterfly
Lowest review score: 2 Rain In England
Score distribution:
1,762 music reviews
    • 97 Metascore
    • 97 Critic Score
    SMiLE has arrived as incredible and ground-breaking a record as any of us could have hoped.
    • 97 Metascore
    • 100 Critic Score
    Rather, it is not a rap album; it is the absolute rap album. There is craft here (and in fact this is the most musical mainstream rap record since Aquemini) but just enough room for it.
    • 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).
    • 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.
    • 93 Metascore
    • 94 Critic Score
    A caterwauling hunk of avant-garde precision.
    • 92 Metascore
    • 86 Critic Score
    The collection is one of the best releases of 2006 because Tom Waits is one of America’s greatest living songwriters.
    • 92 Metascore
    • 86 Critic Score
    Channel Orange is going to be the standard to beat for some time. And it might very well be the best R&B album of our young decade.
    • 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.
    • 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.
    • 90 Metascore
    • 94 Critic Score
    What makes the album so gigantic is how intensely unique the state’s identity becomes filtered through one man.
    • 90 Metascore
    • 90 Critic Score
    It draws a subtle focus and then recedes from the record without resolve. Its tensions remain. If Sufjan is a perfectionist, he is now perfecting the art of stumbling, creating melodies that writhe with uncertainty and voices that echo back on themselves.
    • 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.
    • 90 Metascore
    • 88 Critic Score
    Backstreet spawn aside, it may finally be settling in that Sir Lucious Left Foot does gather itself around Big Boi enough to make it the best OutKast-related release since the duo dropped Aquemini a dozen years ago (we can debate its merits next to the incredible six tracks or so on the bloated Stankonia, sure). For a Kast fan, this is life-affirming.
    • 89 Metascore
    • 85 Critic Score
    Modern Times is a record of both giddy songwriting peaks and overall uniformity, a record whose music ultimately delivers and enriches its well-bred messages of realism and religion, work and devotion, the certitude of decay and the decay of certitude.
    • 89 Metascore
    • 85 Critic Score
    It is indeed a soaring achievement, one seemingly without missteps.... In fact, the only drawback of an album this expertly executed is its smoothness.
    • 89 Metascore
    • 87 Critic Score
    In The Idler Wheel's ten phenomenal songs, Fiona Apple seems to lay everything out on the table.
    • 89 Metascore
    • 85 Critic Score
    Animal Collective keep getting better.
    • 89 Metascore
    • 88 Critic Score
    The hype was (gulp) correct. Hell Hath No Fury is hot. Dirtily, nastily, pipingly hot. Not Best Rap Album of the Year hot; Best Rap Album in a Few Years hot.
    • 88 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.
    • 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.
    • 88 Metascore
    • 90 Critic Score
    What they said.
    • 88 Metascore
    • 86 Critic Score
    The music beneath Cookie Mountain is an earthquake of nearly generation-defining proportions.
    • 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.”
    • 88 Metascore
    • 88 Critic Score
    The album is, in short, phenomenal. It certainly doesn’t match the beauty and heartbreak of Either/Or (1997), but it manages to recapture the spirit of that record while properly articulating the orchestration that Elliott had been working with for Figure 8 and XO (1998).
    • 88 Metascore
    • 85 Critic Score
    Radiohead sound as ephemeral and variegated as ever, flowering and streaming and as big as the light our eyes can catch.
    • 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.
    • 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
    • 83 Critic Score
    It isn’t the street rap of Ironman, it isn’t an exercise in abstract lyricism akin to Supreme Clientele, or the partially-focused and repeatedly disappointing Bulletproof Wallets. Regardless of that, the album captures exactly that Ghostface Killah is and has been over his past four records.
    • 88 Metascore
    • 84 Critic Score
    If dubstep is dead, then Burial is some magnificent tower of dust and light built on the remains.
    • 88 Metascore
    • 86 Critic Score
    Arular beats out most everything I’ve heard this year in terms of creativity, energy, dance-ability and fun.
    • 87 Metascore
    • 84 Critic Score
    Blue Record is, in sound and spirit, satisfying metal painted with broad strokes and big gestures.
    • 87 Metascore
    • 84 Critic Score
    Odd, joyous, and wonderful.
    • 87 Metascore
    • 86 Critic Score
    Everything that makes Shackleton's sound a singular one is on proud display through this extensive compilation of new material.
    • 87 Metascore
    • 83 Critic Score
    While Showtime has one or two more duds than its shock-assault of a predecessor, its continued siege is of essentially comparable caliber.
    • 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.
    • 87 Metascore
    • 83 Critic Score
    Los Lobos sound fresher, more invigorated, and weirder than they have in years.
    • 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.
    • 87 Metascore
    • 85 Critic Score
    We adore this album and are pretty sure most of you will, too.
    • 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.
    • 87 Metascore
    • 86 Critic Score
    xx
    The album's explication of its own interest in contrast and conversation is perhaps its greatest virtue.
    • 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.
    • 87 Metascore
    • 85 Critic Score
    It's a staid achievement-a soundtrack to unwillingly letting go of the unsustainable, both figurative and literal.
    • 87 Metascore
    • 83 Critic Score
    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.
    • 87 Metascore
    • 87 Critic Score
    Although there are a couple of failed tracks--like the tediously slow 'The Turn'--most of this stuff is groundbreaking.
    • 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
    • 88 Critic Score
    w h o k i l l is probably the most inviting album you'll hear this year.
    • 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.
    • 86 Metascore
    • 89 Critic Score
    This is the new definitive rock opera.
    • 86 Metascore
    • 90 Critic Score
    He, like his album, works best in its woozier, hushed moments.
    • 86 Metascore
    • 88 Critic Score
    Think of it as a party invitation: it is as thrilling and original a debut as has come out this year, and one that leaves an ingenious sonic blueprint to build upon.
    • 86 Metascore
    • 83 Critic Score
    Weighty and authoritative, the gospel backings help convert Gelb’s often world-weary musings into straight-talking wisdom, the kind of stuff you want to listen to on a bad day.
    • 86 Metascore
    • 81 Critic Score
    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.
    • 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.
    • 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.
    • 86 Metascore
    • 88 Critic Score
    They may not seem on-point at first, occasionally wandering into vaguely tangential realms like a professor who’s a few dropped chalks away from the retirement home, but eventually the genius of it settles in.
    • 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.
    • 86 Metascore
    • 83 Critic Score
    Newman’s work here demands high praise, especially with his resume.
    • 86 Metascore
    • 84 Critic Score
    If there is one thing that might be wrong with this album -- besides an uneventful last third -- is that the album might be too tailor-made for music critics worn out by music fatigue, hype fatigue, and irony fatigue.
    • 85 Metascore
    • 83 Critic Score
    Although The Mysterious Production of Eggs lacks the gleeful variety of Swimming Hour, it is obvious that Bird has created his most cohesive statement to date.
    • 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.
    • 85 Metascore
    • 82 Critic Score
    Worth mentioning about Rook, as something of a corollary to its ostensible punch-in-the-gut dynamics, is how creatively put together it all is.
    • 85 Metascore
    • 87 Critic Score
    Neko Case has made tremendous progress here as a lyricist.
    • 85 Metascore
    • 85 Critic Score
    Easily the most cohesive and consistent album of his career, and one of the first great albums of 2005.
    • 85 Metascore
    • 81 Critic Score
    This record has a way of making you feel alone and alienated even in a crowded room.
    • 85 Metascore
    • 84 Critic Score
    Maybe that’s the real spiritual value of the album: rather than impress their personal convictions, the band acts as a conduit for all these forces to combine and radiate like a prism.
    • 85 Metascore
    • 81 Critic Score
    His rhymes are intelligent and image-packed, his drums are classic, and his inspired sample choices come together to make a striking aesthetic statement.
    • 85 Metascore
    • 84 Critic Score
    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.
    • 85 Metascore
    • 85 Critic Score
    Is it their best album? Maybe not. Is it still the best pop album of the year? Of course.
    • 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.
    • 85 Metascore
    • 85 Critic Score
    The 24 songs... are characteristically and uniformly excellent.
    • 85 Metascore
    • 83 Critic Score
    They've rapidly become the standard bearers for the funkiest of instrumental soul, and III suggests they could keep doing this thing for several albums before it even begins to approach boring. We should all be as similarly stoked.
    • 85 Metascore
    • 81 Critic Score
    Poised as hyper-indulgent fellas, Smother is a startlingly controlled album, one that's exactly as smooth and smoldering as its moniker posits.
    • 85 Metascore
    • 85 Critic Score
    The thing Have One On Me absolutely excels at is the creation of remarkable moments amid its rambling odes.
    • 85 Metascore
    • 86 Critic Score
    It’s a sophisticated work, delicately and meticulously crafted, and its effete pleasantness lends itself as well to "Late Night" performances as "New Yorker" coverage.
    • 85 Metascore
    • 81 Critic Score
    Nobody who has ever had some semblance of an interest in this band should ignore Journal For Plague Lovers, which is simply far more awesome than anyone had a right to expect.
    • 85 Metascore
    • 83 Critic Score
    Ys
    If you give it a chance (or maybe even a dozen chances, if you can stand it), and don't immediately dismiss it because it's by Joanna, I’m sure you’ll find something to love.
    • 85 Metascore
    • 81 Critic Score
    Enter the Vaselines serves as a timely reminder of the old ways we found music: for Cobain, one dreams, as a record in a bin somewhere, and for the rest of us, a recommendation from a friend, a cassette loaned around like a dirty one-hitter.
    • 85 Metascore
    • 87 Critic Score
    Strange Mercy is Clark's most tense, nauseous, kaleidoscopic album yet.
    • 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.
    • 85 Metascore
    • 86 Critic Score
    With El-P's help, Killer Mike has produced his first unquestionably great Album.
    • 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.
    • 84 Metascore
    • 81 Critic Score
    Serena Maneesh injects the Warhols' toothy, cocksure swagger [into] the lush, narcotic insularity of My Bloody Valentine and Ride.
    • 84 Metascore
    • 86 Critic Score
    El-P's always been ahead of the curve but Cancer for Cure isn't valuable for its prescience so much as its currency of the now and the way it unites rap head nostalgia for the future beats of the past with the beats of the present.
    • 84 Metascore
    • 81 Critic Score
    This stuff is genuinely, earnestly satisfying, in the same way all great pop music is: these songs, simply and purely, sound fucking great.
    • 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.”
    • 84 Metascore
    • 83 Critic Score
    Lost and Safe removes much of the chaotic elements of its predecessors, substituting a more focused, and therefore cohesive approach to their cut-and-paste style.
    • 84 Metascore
    • 81 Critic Score
    It is markedly less frenetic and more cohesive, and for that it is pitch-black and menacing, and for that it is head-and-shoulders the better record.
    • 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.
    • 84 Metascore
    • 86 Critic Score
    Feels takes the Collective in an exciting new direction, creating the kind of record that expands on the group's less esoteric strengths while also pushing their sound forward.
    • 84 Metascore
    • 90 Critic Score
    I think Ga Ga Ga Ga Ga is the album of this year and maybe of the next.
    • 84 Metascore
    • 83 Critic Score
    Well-constructed, thoughtful, emotionally provocative and cathartic.
    • 84 Metascore
    • 86 Critic Score
    Simply put, in 2006, My Life is a timeless evaluation of Assimilation, sometimes harmless, sometimes bleak, but consistently absorbing.
    • 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.
    • 84 Metascore
    • 90 Critic Score
    There’s nothing knee-jerk about it; just the inexorable sounds of ideas beautiful and terrible unfurling. It’s a careful, masterful record.
    • 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.
    • 84 Metascore
    • 84 Critic Score
    CYHSY’s songs ring of The Bends-era songwriting, but loungier, more playful, more comfortable in their own skin.
    • 84 Metascore
    • 84 Critic Score
    Though wrong and stupid kinda work (in a good way!), Tha Carter III is more a balanced, self-conscious synthesis of everything viably great about Lil Wayne, hyperbolic or not, than the penultimate statement of the MC’s “legendary” status.
    • 84 Metascore
    • 85 Critic Score
    It’s downright exciting for a band like the Thermals to emerge with something so simple and unflustered, so bereft of unnecessary baggage, a shining light of a record that delivers on its early promise.
    • 83 Metascore
    • 81 Critic Score
    A gorgeous little nightmare.
    • 83 Metascore
    • 87 Critic Score
    With Julia Holter, with this profound and inexhaustibly gorgeous album, we can transcend our own transcendence and find the greatest bliss in the joyful renunciation of what makes us us.