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 1.7 points lower than other critics. (0-100 point scale)
Average Music review score: 70
Highest review score: 90 Up In Flames
Lowest review score: 20 Liz Phair
Score distribution:
  1. Positive: 45 out of 62
  2. Negative: 4 out of 62
62 music reviews
    • 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.
    • 90 Metascore
    • 80 Critic Score
    Take away the album's conceit, and Stevens' artful songwriting -- and voice -- still remain.
    • 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.
    • 87 Metascore
    • 80 Critic Score
    For a plodding, semi-mopey bit of understated blues, it's hard to beat.
    • 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.
    • 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.
    • 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.
    • 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.
    • 85 Metascore
    • 70 Critic Score
    The best production values a major-label budget can buy make everything on Crimes as clear as a bell, which helps. This clarity elevates what could have easily been a sonic muddle into an album that bears repeat listenings.
    • 85 Metascore
    • 80 Critic Score
    Usually quiet though never passive, these songs lurch by, crowning, crowing, being cowed.
    • 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.
    • 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.
    • 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.
    • 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.
    • 82 Metascore
    • 80 Critic Score
    It's an album's worth of smart, solid pop music that lingers in the memory.
    • 81 Metascore
    • 60 Critic Score
    None of the songs on Get Behind Me Satan is bad; all the songs together, however, fail to meet the Stripes' criteria that all you need is two. For these tracks, you need four, five, six musicians -- not to drench the proceedings in a Scott Walker deluge, but to fill the spaces, the former job of White's guitar and Meg's drum bashing.
    • 81 Metascore
    • 80 Critic Score
    The powerful melodies are impossible to shake, and grooves compel you to move, giving the album the authority of a greatest-hits collection.
    • 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.
    • 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.
    • 80 Metascore
    • 70 Critic Score
    For even the most ardent Low listeners, this box set (in all its packaging design perfection) will overwhelm.
    • 80 Metascore
    • 80 Critic Score
    On Antics, Interpol is less indebted to its influences, creating a distinct sound from the distinguishing characteristics that drew those comparisons in the first place.
    • 79 Metascore
    • 60 Critic Score
    A pleasurable but uneven set that makes for occasionally compelling, but not addictive, listening.
    • 79 Metascore
    • 70 Critic Score
    Weller takes a small step forward artistically, building ever so slightly on his sturdy foundation at a time when he's on a songwriting winning streak.
    • 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.
    • 78 Metascore
    • 80 Critic Score
    One of Beck's most admirable traits is that when he tries on a new culture, he makes fun of his effort louder than anyone else can.
    • 78 Metascore
    • 70 Critic Score
    For every robotic quip on Sumday, there's an exposed moment of sincerity that proves it's not all Penzoil oozing from the lilting Lytle.
    • 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.
    • 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]