Village Voice's Scores

For 764 reviews, this publication has graded:
  • 47% higher than the average critic
  • 3% same as the average critic
  • 50% lower than the average critic
On average, this publication grades 4.4 points lower than other critics. (0-100 point scale)
Average Music review score: 67
Highest review score: 100 The Naked Truth
Lowest review score: 10 God Says No
Score distribution:
  1. Negative: 48 out of 764
764 music reviews
    • 79 Metascore
    • 80 Critic Score
    A shiny little appliance that fragments its 11 tracks into nearly as many subgenres, doing away with the seamless sprawl of their earlier records.
    • 82 Metascore
    • 80 Critic Score
    Stag is a diverse non-Indigo mix (the only song that makes me go hmmm starts, "She brings me Spanish clementines, I eat them by the waterside"), intermingling Ray's canny ear for melody with a lo-fi, raw sensibility and attitude aplenty.
    • 80 Metascore
    • 80 Critic Score
    Filled with startling jump cuts and puzzling reverberations, The W is the best-produced Wu-affiliated album since GZA's 1995 Liquid Swords.... Eight years after their first single, it's a thrill to hear Wu-Tang sounding so unhinged. But it's also a pain in the ass. With nine voices, nine styles competing for your ear, even the most carefully crafted Wu-Tang album flirts with chaos, and the listener is left to separate milestones from mistakes. The W bursts with inspiration, but what does it all mean? You can't help wishing there was someone in charge.
    • 68 Metascore
    • 80 Critic Score
    Confidently ridiculous and matter-of-factly wise, the 6ths record is a lovely collection of songs about pining, yearning, coveting, aching, "kissing the bottle wishing it was you." Needless to say, it's also quite funny.
    • 74 Metascore
    • 80 Critic Score
    Macy's decision to team with [producer Dallas] Austin this time around gives her anarchic brilliance just the right creative counterbalance.
    • 72 Metascore
    • 80 Critic Score
    Painful as the backstory gets, the work itself remains lovely and luxuriant.
    • 68 Metascore
    • 80 Critic Score
    Sure, Fever's brushed-steel Eurodisco is old hat, Munich '77 via Paris '98. But mainlined along FM frequencies, it sounds totally 2002.
    • Village Voice
    • 79 Metascore
    • 80 Critic Score
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    His Cupid's-arrow vignettes reach deep into the fictional dream through heedless genre-bending, ingenious rhyme and incongruous simile, bleary-eyed dislocation and straight-faced melodrama.
    • 72 Metascore
    • 80 Critic Score
    The music is always full of life, and Slug's white-boy flow is brassy, deft, and one-of-a-kind.
    • 79 Metascore
    • 80 Critic Score
    All That You Can't Leave Behind returns to the grand gestures of old. Practically every song a potential hit single. Soulful, exuberant, at peace with its own clichés, this is one U2 record that will never be called antianything.... Call it their R.E.M. album, monster rock filtered through a sophisticate's restraint.
    • 67 Metascore
    • 80 Critic Score
    Everyday has at least six tracks more beautiful than U2's "Beautiful Day"; the album, needless to say, kicks All That You Can't Leave Behind's behind.
    • 72 Metascore
    • 80 Critic Score
    Musicology is noticeably spare and controlled. This development gratifies its admirers, and rightly so.
    • 57 Metascore
    • 80 Critic Score
    Agreeably pervtastic.
    • 89 Metascore
    • 80 Critic Score
    Sensitive ones will fall in love instantly; Fat Beats futurists might wait for the Jay Dee remix due later this year.
    • 77 Metascore
    • 80 Critic Score
    Percolates the same melancholy satisfaction and nervous maturity, entropy and growth, in and out--but with an urgency and impulsiveness that risks upsetting the balance.
    • 71 Metascore
    • 80 Critic Score
    Confessions is a top-of-the-line pop-soul showcase that... manages to be commercially savvy without coming off as too desperate.
    • 69 Metascore
    • 80 Critic Score
    This perfectly pitched record reveals that these hardworking brothers' valiant quest for independence shall be rewarded.
    • 79 Metascore
    • 80 Critic Score
    album hits people who love the sound extravaganzas of overdubbed guitar symphonies, can't hang with the folkiness full-service singer-songwriters inevitably preserve, and expect melodic flair and beats, yet sometimes want to hear words.
    • 77 Metascore
    • 80 Critic Score
    Thematically it's a less ambitious record than Pelo (and in terms of scale, Pedals), but listen to it as the Navins' Exile in Guyville and its truths are heartbreaking in their weary familiarity.
    • 70 Metascore
    • 80 Critic Score
    This is the funniest hard-rock album I've ever heard; also, the hardest-rocking funny album I've ever heard, since if you take away the jokes you've still got the power of the music.
    • 57 Metascore
    • 80 Critic Score
    The new album is looser in the rhythm, has less wall of slash, relatively more lilt and funk, and more variety in the sound ... but in general the music is too diffuse.
    • 72 Metascore
    • 80 Critic Score
    It's a hilarious critique of right-wing reactionaries, hypocritical lefties, hyper-commercial consumerism, and the slave-service industry. Like if someone smoked a lot of weed, and turned Fast Food Nation into a hit Broadway musical.
    • 83 Metascore
    • 80 Critic Score
    Don't misunderstand. I Am Shelby Lynne is a standout... Still, if the range of reference marks Lynne's hard-won liberation from cookie-cutter Nashville, there's a different sort of plasticity to this sound, which may explain why it broke not in the heartland or on VH1, but the U.K.
    • 81 Metascore
    • 80 Critic Score
    Too mischievous for Led Zeppelin's Valhalla and too self-aware for Bal-Sagoth's Magic Kingdom, Wonderful Rainbow conjures retarded unicorns, copulating robots, and head-banging ogres in one technicolor beat.
    • 83 Metascore
    • 80 Critic Score
    All in all, expertly wobbling prog metal, constructed out of as few chords as possible.
    • 78 Metascore
    • 80 Critic Score
    While the acoustic simplicity of Reckoning seems thin at first, particularly beside Revelling's sensual, bombastic joy, the croons and ballads grow on you, if not for their melancholy navel-gazing, then for their languid, old-school folksiness.
    • 65 Metascore
    • 80 Critic Score
    Neither a straight feminist critique nor a tribute album, Strange Little Girls is rather a nuanced exploration of the dualities of love and aggression.
    • 85 Metascore
    • 80 Critic Score
    It's not stretching to suggest that they've complicated house music's ease so effectively that Kish Kash often resembles, well, postpunk.
    • 71 Metascore
    • 80 Critic Score
    Although sometimes her reliance on mood threatens to get the better of Worldwide Underground, Badu remains faithful to the old school of flow, a blend of drums and rhythm designed to service soul's best instruments: its vocalists.
    • 79 Metascore
    • 80 Critic Score
    There's no great leap forward--or backward, depending on your theory of pop--of any sort here.