cokemachineglow's Scores

  • Music
Select another publication »
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 1.9 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
view
per page
    • 81 Metascore
    • 74 Critic Score
    The Ecstatic
    He may no longer be the novelistic observer of Black on Both Sides or the fearless explorer of The New Danger, or even the wised-up star of True Magic, but The Ecstatic is still imbued with all that and not making a big deal out of it, perhaps the first truly mature thing Mos Def has ever admitted.
    • 82 Metascore
    • 74 Critic Score
    Ice Cream Spiritual
    It is, more than anything else, the sound of a band having too much fun being good to try being great.
    • 73 Metascore
    • 74 Critic Score
    Beach Fossils
    I'm not sure what this one will sound like when the heat lets up--but what matters for now is that Beach Fossils have crafted a breezy and charming debut that renders such questions, at least for right now, unimportant.
    • 78 Metascore
    • 74 Critic Score
    Lullabies To Paralyze
    Lullabies to Paralyze loses points for a handful of uninspired tracks and questionable production values, but I can’t imagine anybody who’s enjoyed the Queens in the past not taking to at least half of the songs on this album.
    • 82 Metascore
    • 74 Critic Score
    Broken Social Scene
    The disc is disjointed, lacks much in the way of cohesive musical character, and ultimately never really reaches to be anything more than a bunch of decent songs held together in the semblance of an album.
    • 76 Metascore
    • 74 Critic Score
    The Hawk Is Howling
    The Hawk is Howling is an immensely satisfying, patient, and expertly crafted album that ranks among their best.
    • 72 Metascore
    • 74 Critic Score
    '64 - '95
    So it essentially comes down to the fact that “Come Down on Me” and “Go” are likely going to be two of the best tracks of the year, but that a great deal of ’64-’95 is less likely to stick to memory.
    • 77 Metascore
    • 74 Critic Score
    Room(s)
    Like similarly engaging pop music, Room(s) diversifies and moulds its winning formula into a variety of fledgling creations.
    • 66 Metascore
    • 74 Critic Score
    Lifeblood
    Infinitely better than their last album, and proof that The Manics are now capable of writing pop music that’s neither dull nor pandering.
    • 66 Metascore
    • 74 Critic Score
    Made In Brooklyn
    Made In Brooklyn’s not as bold or striking or collected as No Said Date, but the sophomore effort’s a fine follow-up, nonetheless, and almost certainly doomed to the same neglect.
    • 79 Metascore
    • 74 Critic Score
    How To Dismantle An Atomic Bomb
    Compared to All That You Can’t Leave Behind, it’s immensely sincere, well-thought out, and meaningful... [It] also happens to be loaded with hooks.
    • 70 Metascore
    • 74 Critic Score
    Pleasure
    Pleasure essentially satisfies, even if I have to admit that it's hard not to feel absolutely, completely, and totally lied to by virtually everything about Pure X that isn't their music.
    • 71 Metascore
    • 74 Critic Score
    Napa Asylum
    Over time Napa Asylum reveals itself as remarkably cohesive and more than willing to cede points of entry every few tracks. Still an exhausting experience, sure, but one that's often thrilling, and well worth the effort it requires of us.
    • 78 Metascore
    • 74 Critic Score
    Want Two
    Want Two disposes of almost all of the commercial elements that had been blamed for One's downfall without revealing a satisfying work in the process.
    • 81 Metascore
    • 74 Critic Score
    Maraqopa
    It's just wonderfully consistent, satisfyingly familiar.
    • 80 Metascore
    • 74 Critic Score
    The Golden Age of Apocalypse
    These guys have the tools, and God knows they have the chops, but Thundercat has yet to develop a compelling sound of his own, and no amount of production wizardry can ultimately disguise that.
    • 73 Metascore
    • 74 Critic Score
    A Bigger Bang
    Here, they succeed just by doing what they do best, taking few chances, but sounding more comfortable in their own skin than they have in a very long time.
    • 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.
    • 80 Metascore
    • 74 Critic Score
    Pajo
    The tinny, noisey/flangey/hurtful sound that's shellacked on in cheap 16 bit hinders some of the best material he's written to date.
    • 68 Metascore
    • 74 Critic Score
    Friendly Fire
    The melodies and production are top-notch, even if, lyrically, the album’s motifs barely move from sullen dismay to cheery dismay.
    • 83 Metascore
    • 74 Critic Score
    Florine [EP]
    It’s music that, outside of a live setting where one has the benefit of watching her assemble her loops, calls for patience, and it’s difficult to anticipate under what circumstances her techniques could lend themselves to something either more ambitious or longer in form or structure.
    • 76 Metascore
    • 74 Critic Score
    Thank You Very Quickly
    Clocking in with around thirty five minutes of largely instrumental music, one’s tempted to cast Thank You Very Quickly as a one-off, but both the band’s communicable enthusiasm and obvious technical skill pull it off.
    • 73 Metascore
    • 74 Critic Score
    Riceboy Sleeps
    It's true that Riceboy Sleeps is no departure from New Age, is in fact a strengthening of at least Birgisson's place at the centre of its indie iterations. But it also takes the formula of another band a lot of people like and bends it just enough to make that formula interesting again.
    • 79 Metascore
    • 74 Critic Score
    Cripple Crow
    At the end of the day, this still isn’t a great album. It lacks continuity, much of a sense of rhythm, and the character that Banhart’s 2004 releases took on.
    • 90 Metascore
    • 74 Critic Score
    From Here We Go Sublime
    This is an album you could easily hate -- especially if you like things like change and development.
    • 76 Metascore
    • 74 Critic Score
    Arrow
    Arrow, the band's fourth album, doesn't differ significantly from their prior efforts, though the fiddle and pedal steel flourishes of 2009's rootsy The Mountain have been largely excised in favor of more hot shit guitar soloing care of new recruit Mark Nathan.
    • 57 Metascore
    • 74 Critic Score
    Ferrari Boyz
    Since Ferrari Boyz doesn't mark the reemergence of Gucci, it's best viewed as a warm-up for Flocka's previously-mentioned sophomore effort.
    • 79 Metascore
    • 74 Critic Score
    Son
    Son strikes me as even more experimental than Tres Cosas, and as such it’s less interested than that record on really opening itself up to the listener. That may be a good thing, admirable even, but it doesn’t stop the whole thing from feeling a little cold at first listen.
    • 76 Metascore
    • 74 Critic Score
    All Things Will Unwind
    It's an album both in tune lyrically and out of time stylistically, and that's what has All Things Will Unwind approaching relevance.
    • 68 Metascore
    • 74 Critic Score
    Out of Love
    Mister Heavenly, for better or worse, have debuted as a strong musical voice, one with perhaps so much combined talent and perspective that their reverence occasionally gets the better of them.
Page: