Flak Magazine's Scores

  • TV
  • Music
For 62 reviews, this publication has graded:
  • 51% higher than the average critic
  • 0% same as the average critic
  • 49% lower than the average critic
On average, this publication grades 1.6 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 90 The Mess We Made
Lowest review score: 20 Liz Phair
Score distribution:
  1. Positive: 45 out of 62
  2. Negative: 4 out of 62
62 music reviews
    • 82 Metascore
    • 90 Critic Score
    A nuanced, ever-shifting masterwork that reveals its biggest rewards to the listener who's got 53 minutes to experience the whole thing, start to finish, and who's willing to do this several times.
    • 86 Metascore
    • 90 Critic Score
    Carved into the glittering surface of its obsessively polished pop jewels are the biographies of horny schoolkids, laid-off airline pilots, aspiring salesmen reeling from scotch and soda -- in short, credible characters sculpted with music.
    • 88 Metascore
    • 90 Critic Score
    The fusion of rhythm with textural washes of sound is near perfect in its seamless euphoria.
    • 88 Metascore
    • 90 Critic Score
    Banhart ceaselessly entrances with his brilliant combination of John Fahey-esque pickings, absurd and sometimes profoundly resonating lyrics and the craft to convey both kinds with equal candor.
    • 84 Metascore
    • 90 Critic Score
    The understated instrumental, tempo and mood variations are what make The Violet Hour so great -- by the time you reach the closing track, you have not once been jarred out of the reverie induced by the opening title track.
    • 71 Metascore
    • 90 Critic Score
    [It's] Ween's darkest record, and it is tremendous.
    • 85 Metascore
    • 90 Critic Score
    Though there are quite a few slinking, introspective tracks on Transatlanticism, there are also a fistful of songs that have the left-field appeal -- not quite punk, not quite rock, not quite pop -- that brought a song like Jimmy Eat World's "The Middle" to the top of the charts in recent years.
    • 84 Metascore
    • 90 Critic Score
    No matter how the sounds are made, it is with captivatingly sincere intent that they are never boring and, above all, always enjoyable.
    • 86 Metascore
    • 90 Critic Score
    It is Finn's particular gift to be able to set the listener smack in the middle of his songs, seeing what he sees, caring about the lives he chronicles. It is the listener's reward to find these stories scored by big, fat monster hooks, and effortless piano-driven melodies.
    • 72 Metascore
    • 80 Critic Score
    AmAnSet's output is predictable, delivering what the Austin, Texas, group does best: floating melodies and whispered vocals in songs about you and me and now, all the things that came between us.
    • 73 Metascore
    • 80 Critic Score
    A slow-motion slice of rock brilliance.
    • 76 Metascore
    • 80 Critic Score
    The devotion to setting such teetering to song is the album's strength. No matter the tune, Germano's pipes and strings swoon strong, hovering ominous and knowing like her floating magician's assistant body on the album's cover.
    • 87 Metascore
    • 80 Critic Score
    For a plodding, semi-mopey bit of understated blues, it's hard to beat.
    • 85 Metascore
    • 80 Critic Score
    Usually quiet though never passive, these songs lurch by, crowning, crowing, being cowed.
    • 81 Metascore
    • 80 Critic Score
    It's in the mournful, captivating, meditative, exasperating, pretentious, masterfully constructed experience of A Ghost Is Born that Tweedy and Wilco become true iconoclasts.
    • 56 Metascore
    • 80 Critic Score
    As the songs unfold over multiple listens, though, what becomes clear is that R.E.M. still has plenty to say, and plenty of interesting ways to say it.
    • 82 Metascore
    • 80 Critic Score
    It's an album's worth of smart, solid pop music that lingers in the memory.
    • 78 Metascore
    • 80 Critic Score
    Showcas[es] low-key numbers that draw on many of the influences that made Adams' Whiskeytown and early solo work so strong. [combined review of 1&2]
    • 74 Metascore
    • 80 Critic Score
    Stripped of arrangements, the songs are mostly brooding ballads, shadowy blends of folk mixed with traditional country that highlight Adams' shaky voice and caustic songwriting. [combined review of 1&2]
    • 73 Metascore
    • 80 Critic Score
    A diverse collection of consistently good songs with little filler.
    • 80 Metascore
    • 80 Critic Score
    Listening to Xiu Xiu, we become nosy neighbors with our ears pressed against the wall separating us from lives infinitely more fascinating and tragic than our own.
    • 70 Metascore
    • 80 Critic Score
    Regardless of whether Cash completes another album, this chapter of the American Recordings can fill the role of masterful final episode or precursor to the stunning conclusion.
    • 78 Metascore
    • 80 Critic Score
    The album is something of a wash, packing a less potent dose of Makino but an extra kick of Pace.
    • 82 Metascore
    • 80 Critic Score
    Two or three too many songs dilute the impact of the album, dragging it from the lofty heights of masterwork to a level of mere disturbed brilliance.
    • 86 Metascore
    • 80 Critic Score
    This is good, solid pop music, engaging the head, the gut and that annoying voice you sing along in when you think no one's listening.
    • 78 Metascore
    • 80 Critic Score
    The band functions as a unit, informing the songs with a structure and a fully realized design that has sometimes been lacking in past albums.
    • 85 Metascore
    • 80 Critic Score
    Of course it's political, and of course it continues to merge electronic experimentation with more familiar rock structures; but it employs all those debate-igniting props simply to further the band's more pressing agenda: to tirelessly explore beauty's terrible fragility.
    • 91 Metascore
    • 80 Critic Score
    The discs are dense, musically diverse, sometimes phenomenal, sometimes foolish and long-winded, elegiac and uneven. It's a singularly interesting failure -- a noble miss along the lines of Radiohead's last three albums and Steve Earle's Jerusalem.
    • 68 Metascore
    • 80 Critic Score
    This album is stunning.
    • 78 Metascore
    • 80 Critic Score
    An adrenaline rush of an album that firmly cements their status as one of rock's most exciting new acts.