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 1.9 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
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    • 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
    • 73 Critic Score
    Stadium Arcadium
    For anyone who legitimately enjoyed Blood Sugar, and think that they might actually want to purchase this thing, Stadium is unquestionably Red Hot Chili Peppers’ finest release since.
    • 79 Metascore
    • 73 Critic Score
    BiRd-BrAiNs
    Garbus’s peculiarities are often quite charming--often, not always, because there’s only so much so-called cute we can be expected to tolerate, and though Bird-Brains remains on the side of acceptability, it flies dangerously close to the line (er, wire).
    • 78 Metascore
    • 73 Critic Score
    Marry Me
    It's an excellent debut, and hints at a potentially significant force in indie rock in the coming years.
    • 73 Metascore
    • 73 Critic Score
    Watersports
    I’m finding these chocolate bar grooves and dark, open spaces in Watersports a pretty nice place to be, and if the guys in Mi Ami have mellowed a bit with age, they haven’t gotten any less interesting or vital, still embroiled with the spirit and verve that supposedly ended at the Black Cat not all that long ago.
    • 72 Metascore
    • 73 Critic Score
    In Case We Die
    Think what you want about its theatricality, its twee --- at base, it’s a technically accomplished album, and if you’re willing to give yourself over to it, or do lots of drugs, a charming ride.
    • 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.
    • 68 Metascore
    • 73 Critic Score
    Wavvves
    The second album has the more obvious and combustible singles. But there’s nothing on the second album that comes close to the 1-2-3 punch of 'California Goth,' 'Wavves,' and 'Lover.'
    • 79 Metascore
    • 73 Critic Score
    Cinder
    This is a step forward, and the new studio approach is a constructive development.
    • 81 Metascore
    • 73 Critic Score
    Liars And Prayers
    But the real appeal remains Zedek’s humbled insights, a worldview informed by an affirmation of our common suspicion that “there are some things you can’t see / with a roof over your head,” and, having lived as such, her solitary cold comfort: “if you don’t like the answer / maybe you shouldn’t ask.”
    • 80 Metascore
    • 73 Critic Score
    Fall Heads Roll
    Yes, the album stretches itself a little thin towards the end and some of Smith’s slurred lyrics are truly unintelligible, but essentially this record is joyously, thankfully, inexplicably, after all these years, still the sound of the Fall.
    • 82 Metascore
    • 73 Critic Score
    II Trill
    The record attempts nothing: it doesn’t stretch or break a sweat but celebrates its easy victory ecstatically, like some asshole Olympic sprinter racing against a middle school track team.
    • 82 Metascore
    • 73 Critic Score
    Brothers
    The no-bullshit album cover might be the cheekiest thing about delightfully straight-forward Brothers.
    • 76 Metascore
    • 73 Critic Score
    We Fight Til Death
    Frankly, this is an odd listen.
    • 80 Metascore
    • 73 Critic Score
    Swing Lo Magellan
    They have it in them to write great pop music or truly important experimental music, but Dirty Projectors have to decide where they want to end up before they start.
    • 76 Metascore
    • 73 Critic Score
    Lantern
    They capture and transform generic ideas about space and environment in ways beyond the grasp of most bands. Sadly, this approach limits their accessibility; even so, theirs is a world well worth, at least, a visit.
    • 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.
    • 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.
    • 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.
    • 88 Metascore
    • 73 Critic Score
    Destroyer's Rubies
    One of [Bejar's] most accomplished (and self-studied) albums, but it’s also one of his least vital.
    • 72 Metascore
    • 73 Critic Score
    Cream Cuts
    Tussle have sharpened their edges, sawed excess fats and driftwood from their bloated frame, and end up sluicing waters--at least some of the time. It’s the most cohesive decision they’ve made yet, but one wonders what Cream Cuts would have sounded like had it been unbound rather than streamlined.
    • 71 Metascore
    • 73 Critic Score
    Champ
    Tokyo Police Club have readjusted their approach-a much leaner, Strokes-ier brand of indie rock, which allows them to continue to play to their strengths while conveniently avoiding the missteps that held them back before.
    • 68 Metascore
    • 73 Critic Score
    Hal
    Hal is basically just a pleasant, fun album.
    • 68 Metascore
    • 73 Critic Score
    Traffic And Weather
    They’re still far and away the best bet for impeccably produced, beach-ready power-pop, and way better than your shitty sounding power-pop band, so excuse them if they seem to harbor no interest in doing anything else.
    • 80 Metascore
    • 73 Critic Score
    Gather, Form & Fly
    Gather, Form & Fly is a bright record full of energy and dynamism even in its most cacophonous sound collages, but what’s so frustrating--what becomes more urgent with every listen--is how great this album could have been.
    • 75 Metascore
    • 73 Critic Score
    Give Blood
    It’s hard to tell if this disc will have much in the way of staying power... but it’s a hell of a fun listen.
    • 76 Metascore
    • 72 Critic Score
    This Too Will Pass
    A strong album with some growing pains.
    • 71 Metascore
    • 72 Critic Score
    Echoes, Silence, Patience & Grace
    The remainder of Echoes is considerably more diffuse, engaging in levels of genre-hopping that might seem a little desperate were it not for the fact that most of the songs hold up.
    • 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.
    • 66 Metascore
    • 72 Critic Score
    Siberia
    What keeps Siberia from being more of a snoozer is the fact that there’s more Will Sargeant guitar to be found here than on any other recent Echo outings, and Heaven Up Here producer Hugh Jones returns to give the band what’s arguably their fullest production values since 1984’s Ocean Rain.
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