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 4.5 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
    • 59 Metascore
    • 60 Critic Score
    Throughout Maroon, though, producer Don Was mercifully dispenses with mawkishness in favor of a theatrical approach tailored for arena consumption.
    • 60 Metascore
    • 60 Critic Score
    While it's tempting to write it off as but one more retro paste-up, Swayzak's uncanny sense of texture, timbre, and space justifies an approach that otherwise seems like a drift toward Alzheimer's.
    • 80 Metascore
    • 60 Critic Score
    Beautifully engineered, Circus sounds chocolaty and recombinant even when it doth protest the Enlightened Guy angle too much.
    • 73 Metascore
    • 60 Critic Score
    Televise's second act stumbles through a glut of mid-tempo glumness.
    • 71 Metascore
    • 60 Critic Score
    The Id suffers from the conundrum of all post-breakout second albums. You're disappointed either because the songs are not enough like the first one or because they're too much like the first but not quite as good.
    • 85 Metascore
    • 60 Critic Score
    Many of the lyrics on Party Music amount to no more than slogans, maxims, opinions.
    • 70 Metascore
    • 60 Critic Score
    Every track is a pure battle, with searing bursts of abrasion chopping at lava flows of insane density.
    • 65 Metascore
    • 60 Critic Score
    Compared to the patchwork G-funk on Dead Man Walkin, Tha Last Meal is a sonic wonderworld. Dr. Dre and Timbaland gussy up Snoop's drag with their unique shuffles, making his descent into even deeper banality irrelevant.
    • 70 Metascore
    • 60 Critic Score
    Grandiloquent, glorious gobbledygook.
    • 75 Metascore
    • 60 Critic Score
    I Can't Stop works as return to form, as proof that Green's groove, voice, and riffs are largely intact. But Green gets tied down when production's slathered on a bit too thick, as if every Hi Rhythm soul lick must be utilized to substantiate the comeback.
    • 74 Metascore
    • 60 Critic Score
    Ten
    Clouddead's problem is their stubborn refusal to express anything.
    • 74 Metascore
    • 60 Critic Score
    Beatles-style tunes crank out with steady snares, blaring power riffs, and languid keyboard interjections, but feel mundane.
    • 60 Metascore
    • 60 Critic Score
    Why didn't they travel this far out of the box initially?
    • 66 Metascore
    • 60 Critic Score
    These scuzzy Voidoids are as immature as Blink-182 were; they just have hipper ways of hiding it—like pretending punk and new wave were the same thing.
    • 51 Metascore
    • 60 Critic Score
    To really care about this album you have to be able to get into the pure hard sounds of the dance-track percussion and the way Michael tends to garnish them with his voice.
    • 60 Metascore
    • 60 Critic Score
    Conspiracy of One? It's fine. Is there anything here as cute as "Pretty Fly (for a White Guy)"? No: Like with Ixnay on the Hombre, their follow-up to the megahit Smash, this follow-up to the even more megahit Americana finds them in dance-with-the-girl-what-brung-you mode--more punk, less pop.
    • 76 Metascore
    • 60 Critic Score
    Elvis makes you suffer for the good stuff with leaden conceits, overwrought hysterics, a useless reprise. And then he makes it all up to yoo-oo-oou.
    • 71 Metascore
    • 60 Critic Score
    Drag it Up doesn't have the gut-level impact of the older stuff.
    • 57 Metascore
    • 60 Critic Score
    What lots of people loved about "Push" isn't much in evidence here, but neither is what lots of people hated about it.
    • 72 Metascore
    • 60 Critic Score
    Maladroit picks up where the Green Album slacked off, relying on the same chunky sonics that set "Hash Pipe" apart from Weezer's earlier, more lithe singles.
    • 67 Metascore
    • 60 Critic Score
    Anchored by predigested melodic hooks, Nelly's songs seem composed with the sole intention of ending up as your next ringtone. [Combined review of both discs]
    • 76 Metascore
    • 60 Critic Score
    Ten New Songs is all introspection, closer in sound to a technologically updated Songs From a Room.
    • 70 Metascore
    • 60 Critic Score
    The best tunes here have that boys'-club vibe of the best early-to-mid-'70s hard-rock bands, dead-on and nailed.
    • 73 Metascore
    • 60 Critic Score
    The two-man, woogie-filled boogie team is fine for 30 minutes.
    • 59 Metascore
    • 60 Critic Score
    A couple of creative notches below 2000's gleaming Black on Both Sides.
    • 52 Metascore
    • 60 Critic Score
    Hamilton's vocals are occasionally plotted now with pronounced melodies, which is nice. But his strikingly affectless, prep-school delivery is abandoned in favor of a gritty, generic bark.
    • 62 Metascore
    • 60 Critic Score
    Anchored by predigested melodic hooks, Nelly's songs seem composed with the sole intention of ending up as your next ringtone. [Combined review of both discs]
    • 71 Metascore
    • 60 Critic Score
    VV:2 does have a bit of a for-hire feel.
    • 74 Metascore
    • 60 Critic Score
    It makes sense that, of the improvised songs, the rockers turned out best.
    • 65 Metascore
    • 60 Critic Score
    Still waiting for the next Lo Fidelity Allstars album? Wish there were more Stereo MC's-like stuff in car ads? Wondering where great songwriting teams like Gallagher/Gallagher have gone? Then Kasabian were made for you! They offer all the same thrills of the aforementioned artists, and they sound like Primal Scream, too!