Village Voice (Consumer Guide)'s Scores

  • Music
For 223 reviews, this publication has graded:
  • 73% higher than the average critic
  • 0% same as the average critic
  • 27% lower than the average critic
On average, this publication grades 10 points higher than other critics. (0-100 point scale)
Average Music review score: 82
Highest review score: 100 Play
Lowest review score: 16 A Day Without Rain
Score distribution:
  1. Negative: 2 out of 223
223 music reviews
    • 71 Metascore
    • 67 Critic Score
    Though he comes up with strong melodies, he's hardly a match for Ben Folds or Elliott Smith, both of whom frame their catchy stuff more idiosyncratically and neither of whom is terribly interesting even so.
    • 74 Metascore
    • 67 Critic Score
    Proficient, bland, and dauntingly dull, their only threat is a promise to "take it back to the days of Mantronix" (no, please, anything but that).
    • 88 Metascore
    • 67 Critic Score
    Not only is his willingness to express emotion commoner than indie denizens imagine, his failure to undercut that emotion with irony or humor is a spiritual weakness.
    • 72 Metascore
    • 67 Critic Score
    Pond's songs are the alt-rock equivalent of what used to be called New Yorker short stories: subtly realized domestic epiphanies often involving tame nature imagery.
    • 79 Metascore
    • 58 Critic Score
    These Danes aren't tuned-in enough for stereotype play.
    • 80 Metascore
    • 58 Critic Score
    When she goes ragga on the way out I wish she hadn't been groomed for something bigger and blander. But she made her choice.
    • 73 Metascore
    • 58 Critic Score
    These 10 well-culled copyrights, two from the '80s and only four from 2000, are something new and ominous, because they're dull. They smell of equine methane: the old-fart hegemony that fuels alt-country, AC radio, and literary anthologies canonizing Ry Cooder, Ernie K-Doe, and Spooner Oldham.
    • 81 Metascore
    • 58 Critic Score
    Face it, folks--when it comes to putting good old rock 'n' roll on record, a bass player really helps.
    • 68 Metascore
    • 58 Critic Score
    Occasionally her pushing-30 doubts about the single life are touching, like when she imagines Gavin Rossdale would make a good dad. But after five years, two producers, one Spin cover, and one lead review in Rolling Stone, the single Interscope sent her back to the salt mines for is the best thing on her automatic-platinum follow-up.
    • 62 Metascore
    • 58 Critic Score
    Mediocre pop songs with pretensions.
    • 78 Metascore
    • 58 Critic Score
    His voice devoid of Newman-Waits grit, his eclecticism even and controlled where theirs bristles with jokes, oddity, and gusto, how does he expect to connect with anyone but other likable progressives, and rather detached and inscrutable ones at that?
    • 74 Metascore
    • 58 Critic Score
    Norah Jones is herself, give her that. I hate to think what this phenom will have to go through to get that far.
    • 68 Metascore
    • 58 Critic Score
    While the songwriting ain't bad, it also ain't that good.
    • 74 Metascore
    • 58 Critic Score
    For her fans, the news is that she's invested her profits in studio musicians. Takes talent to make that more boring than solo acoustic, no?
    • 63 Metascore
    • 58 Critic Score
    No dolt, she figures it's in her best interest to sound like one--as well as an insider outsider like Gush and Bore, whose horrible lessons in playing it safe she takes to heart.
    • 74 Metascore
    • 58 Critic Score
    There are better beats on the damn Jadakiss CD.
    • 79 Metascore
    • 58 Critic Score
    There's no economics, no race, hardly any compassion. Joe name-checks America as if his hometown of Berkeley was in the middle of it, then name-checks Jesus as if he's never met anyone who's attended church. And to lend his maunderings rock grandeur, he ties them together with devices that sunk under their own weight back when the Who invented them.
    • 50 Metascore
    • 58 Critic Score
    Inferior to not just Nirvana but Oasis.
    • 53 Metascore
    • 58 Critic Score
    Beyond some rich-and-famous irony, not a single suburban detail soils an hour of good intentions. And you know the music overreaches too.
    • 82 Metascore
    • 58 Critic Score
    It's not that these songs are all obvious or overdone--this nonfolkie had never heard a few of them. It's that they're so soft they squish even when Alvin tries to rev one past you, which usually he doesn't.
    • 68 Metascore
    • 58 Critic Score
    Where once these Norwegians were extolled for their subtle melodicism, here their schlock candidly attacks the jugular.
    • 82 Metascore
    • 58 Critic Score
    Like most schmoograssers they're committed to virtuosity for its own sake, and like most young musos they've been too focused on technique to learn much about how music interacts with life.
    • 75 Metascore
    • 58 Critic Score
    Working on the humane assumption that all screamo records can't be equally horrible, the reviewerati have singled out this big-ticket effort... Unburdened by theory, however, I find that its distinction boils down to slightly subtler tunecraft and dynamic range.
    • 61 Metascore
    • 50 Critic Score
    Rainer Maria is the genuine collegiate article: impressionistic and overwrought.
    • 56 Metascore
    • 50 Critic Score
    Deeply anonymous.
    • 61 Metascore
    • 50 Critic Score
    [Crosses] PG-13 thug and subpar Luther Vandross.
    • 80 Metascore
    • 50 Critic Score
    The musical parsimony, cultural insularity, moral certitude, and histrionic affectations of these lo-fi artier-than-thous promise indie ideologues whole lifetimes of egoistic irrelevance.
    • 83 Metascore
    • 50 Critic Score
    He claims his Dave Matthews-sponsored major- label debut was his chance to make a true band record, and I guess his boys are trickier than Crazy Horse, just not in any way you haven't heard before.
    • 73 Metascore
    • 50 Critic Score
    What a weird (dishonest? ironic? clueless?) name for a record that's all literature and arty sound effects.
    • 60 Metascore
    • 50 Critic Score
    Aiming to fill the Queenhole by injecting video-game sci-fi and radio-head sonics into a pop-metal base, the Korn protégés forge a "startling vision of a future world in which communications technology has been turned against us, becoming a tool for government surveillance rather than personal convenience." Gosh, how'd they think of that?