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
    • 85 Metascore
    • 90 Critic Score
    For Hero: For Fool
    Dose’s clever, rich, image-gorged writing is at that forefront more than ever, and, mercy, does he ever slam down the goods.
    • 74 Metascore
    • 70 Critic Score
    Love And Other Planets
    Much of Love and other planets is too accessible to be denounced, and too melodically strong to be ignored.
    • 78 Metascore
    • 54 Critic Score
    Dreamt For Light Years In The Belly Of A Mountain
    Inevitably, most of the studio design on each song is greedy and belabored. Everything is in its right place, but everything is too obvious or too proportionally gaudy to warrant more than a signatory “lo-fi” moniker.
    • 78 Metascore
    • 62 Critic Score
    Human Animal
    An album at once tighter and more terrifying than anything they’ve yet released.
    • 60 Metascore
    • 53 Critic Score
    Release Therapy
    Ludacris has created the most uneven album of his career, so frontloaded it might as well be an EP.
    • 80 Metascore
    • 72 Critic Score
    Okonokos [Live]
    This is a fans-only document, but it’s one of roaring, immutable spirit.
    • 74 Metascore
    • 84 Critic Score
    Awoo
    Genuinely affecting, and fun, pop music.
    • 84 Metascore
    • 80 Critic Score
    The Letting Go
    It’s nowhere near as inviting as his previous works, even with the excellent production and introduction of strings. But give it a few weeks; it’ll grow.
    • 83 Metascore
    • 84 Critic Score
    Food & Liquor
    There is not a bad verse on it.
    • 88 Metascore
    • 86 Critic Score
    Return To Cookie Mountain
    The music beneath Cookie Mountain is an earthquake of nearly generation-defining proportions.
    • 61 Metascore
    • 24 Critic Score
    Amputechture
    Maddeningly diffuse at best, and an engorged sonic clusterfuck at worst.
    • 73 Metascore
    • 63 Critic Score
    Crazy Itch Radio
    Their experiments have only caused them to stumble off the path they’ve tread, finally tripping to one side of the thin line between smash and schmaltz.
    • 79 Metascore
    • 83 Critic Score
    So This Is Goodbye
    While This is Goodbye does suffer, like Last Exit, from being a little too consistent (there’s very little variation in tempo or arrangement, or theme for that matter), it's as cohesive a listening experience as almost any album I’ve heard this year.
    • 74 Metascore
    • 76 Critic Score
    Pieces Of The People We Love
    It holds together better [than 'Echoes'] as a complete document, it contains at least seven potential singles, and sounds like a crack band at the top of their game.
    • 70 Metascore
    • 76 Critic Score
    FutureSex / LoveSounds
    While it’s nowhere near Thriller or Purple Rain, it does manage a healthy attempt at a reinterpretation of both.
    • 85 Metascore
    • 78 Critic Score
    I Am Not Afraid Of You And I Will Beat Your Ass
    A wane in consistency in its latter half keeps I Am Not from achieving the heights of Yo La Tengo’s best work, but it will unquestionably satiate their rabid fanbase awaiting a return to eclecticism while re-establishing Ira Kaplan’s status as an early fifty-something guitar god.
    • 69 Metascore
    • 70 Critic Score
    Magic Potion
    Magic Potion never really manages to distinguish itself as an album; there are a number of excellent songs, but even with quite a few listens I never get the idea of the thing working as a collective whole.
    • 71 Metascore
    • 65 Critic Score
    Varcharz
    None of the really experimental stuff is so egregious to mar the album; it’s just fairly disposable after one keen listen. On the other hand, the good, funky stuff isn’t quite as good or funky as it has been in the past.
    • 76 Metascore
    • 81 Critic Score
    The Air Force
    The Air Force has a lot of good songs on it.
    • 76 Metascore
    • 79 Critic Score
    Meadow
    Increasingly abstract or not, Richard Buckner’s a great songwriter.
    • 82 Metascore
    • 77 Critic Score
    Blood Mountain
    Most of the songs show the band in top form.
    • 73 Metascore
    • 70 Critic Score
    Fading Trails
    The full-band songs rarely manage the sort of charismatic country-rock crunchiness that made What Comes After the Blues so endearing on repeated listen. On the other hand, the solo tracks can’t really match up to the almost uniformly excellent offerings on Let Me Go.
    • 71 Metascore
    • 69 Critic Score
    Talk To La Bomb
    On Talk to La Bomb, the main elements of the Brazilian Girls debut are still in place, but both vocal and instrumental elements head toward the middle, leaving us with a more polished and ultimately less satisfying listen.
    • 87 Metascore
    • 83 Critic Score
    The Town And The City
    Los Lobos sound fresher, more invigorated, and weirder than they have in years.
    • 78 Metascore
    • 86 Critic Score
    Taiga
    All of its tracks are kila kila killer.
    • 70 Metascore
    • 56 Critic Score
    B'Day
    Beyoncé’s an artist who’s not sure how to sell her full personality and craft in lieu of selling what she thinks we want.
    • 79 Metascore
    • 86 Critic Score
    Yellow House
    The melodies are entrancing, made even more intriguing by their submergence within the reverb, together resulting in an album whose scope and sound are impossible to ignore.
    • 89 Metascore
    • 85 Critic Score
    Modern Times
    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.
    • 83 Metascore
    • 71 Critic Score
    Game Theory
    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.
    • 67 Metascore
    • 68 Critic Score
    Nightcrawler
    Nightcrawler is the remedy to the collective uncertainty cast by Day I Forgot’s giant shadow of mediocrity: it’s a “solid record” that highlights Yorn’s potential as a songwriter and craftsman, underplays many of his weaknesses, and firmly situates him within the category of Rock Troubadours Who Are Still Worth Paying Attention To.
Page: