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 4.6 points lower than other critics. (0-100 point scale)
Average Music review score: 68
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
    • 78 Metascore
    • 80 Critic Score
    The record floats a Leonard Cohen-Robert Smith vibe or two, but references fail this outfit.
    • 81 Metascore
    • 80 Critic Score
    Merges jazz, pop, and the conservatory in a heady and original way, accessible and seriously playful.
    • 89 Metascore
    • 80 Critic Score
    What really strikes you about its 17 tracks (only two failed to make the final cut due to sample- and guest-artist-clearance issues) is Saigon's sincerity.
    • 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.
    • 81 Metascore
    • 80 Critic Score
    Now 62, the mighty reverend may not be able to make you spontaneously combust like yesteryear, but damn if he can't still get you in the mood with his third batch of love songs for Blue Note.
    • 93 Metascore
    • 80 Critic Score
    An outlandishly imaginative collaboration.
    • 79 Metascore
    • 80 Critic Score
    LaVette sings Scene as if she's been backed into a corner and relishes the sensation.
    • 73 Metascore
    • 80 Critic Score
    Swift may not possess the vocal power to fully sell her more lyrically generic material (Underwood's great gift), but for the most part, this remarkably self-aware adolescent's words don't falter, masterfully avoiding the typical diarist's pitfalls of trite banality and pseudo-profound bullshit.
    • 79 Metascore
    • 80 Critic Score
    There's not much screaming on Last Summer. Like I'm Going Away, it's a basic, modest studio-rock record, the kind common in the '70s, with flavorful detours reminiscent of that era.
    • 87 Metascore
    • 80 Critic Score
    Yankee Hotel Foxtrot is basically a good album, even a great album if you're in the mood, though if you listen to a lot of hip-hop (or house music or basement bhangra or any other genre not dominated by white people), it probably won't be the most extraordinary album you'll hear all month.
    • 69 Metascore
    • 80 Critic Score
    This perfectly pitched record reveals that these hardworking brothers' valiant quest for independence shall be rewarded.
    • 70 Metascore
    • 80 Critic Score
    Lightspeed Champion sounds like an ambitious fan, eager to stuff his entire record collection into his solo debut, but with the uncluttered grace of a patient melodist, albeit one who can't resist naming a song 'Let the Bitches Die.'
    • 78 Metascore
    • 80 Critic Score
    The Stand-Ins, reportedly taped at the same time as "Stage Names," is an improvement, not least because Sheff punishes himself (rather humorously) for the sin of relying on tragic heroes at all.
    • 72 Metascore
    • 80 Critic Score
    Highlights of Fate coming back 'round one last time give satisfying closure, but also tease what's coming when it's inevitably cued up again.
    • 75 Metascore
    • 80 Critic Score
    808s & Heartbreak can be queasy and even morally indefensible sometimes. But that puerile sentiment also gives it its force.
    • 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.
    • 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.
    • 73 Metascore
    • 80 Critic Score
    Throughout much of Asa Breed, Dear achieves a serendipitous balance between the uplifting and the eerie, the hummable and the hypnotic, the tuneful and the texturally adventurous.
    • 71 Metascore
    • 80 Critic Score
    Overall, Mr. Love and Justice is classic Bragg: frequently fantastic folk-rock that keeps both the faith and your attention.
    • 82 Metascore
    • 80 Critic Score
    II Trill, is psychologically up-market, with genuinely well-appointed guest spots (that Webbie and Lupe Fiasco both sound comfortable on the same album speaks volumes) and hungry young producers offering their best tricks.
    • 67 Metascore
    • 80 Critic Score
    And though it's as good as, if not better than, its predecessor, the album's not bowling people over, either. Maybe its rap-folk hybrid is just too much of the same. Or maybe we just can't identify with the first-person "Black Jesus" like we can the third person of yore. Because maybe this album's greatest strength is exactly what's holding it back: the narrative.
    • 77 Metascore
    • 80 Critic Score
    White Crosses is all shiny and fresh and proudly expedient, without proving a thing except that Against Me! are fully capable of doing it again.
    • 71 Metascore
    • 80 Critic Score
    Bricks is consequently more bracing and rewarding than most young-love-lost albums.
    • 77 Metascore
    • 80 Critic Score
    These songs, for all their Top 40 disco glitter (will.i.am. signed her to his label and executive-produces here), compel with their tradeoffs between vulnerability and euphoria, though if you aren't paying attention, they're slick enough to pass as merely exceptional pop-radio or club-floor fodder.
    • 72 Metascore
    • 80 Critic Score
    With catchy choruses (hear "Why, tell me why?/I don't know" once and it won't go away), assured self-production, and lyrics that lean on nobody's pen, it won't be long before people start comparing other bands to French Kicks, instead of the other way around.
    • 79 Metascore
    • 80 Critic Score
    A masterpiece? No. Disturbingly solid noise? Sure.
    • 80 Metascore
    • 80 Critic Score
    As usual, the excellent mix--opaque but sunlit--helps; as usual, we eagerly await her next album.
    • 76 Metascore
    • 80 Critic Score
    It's his lyrics, brutally honest and often desperate, that elevate Alopecia from curiosity to conquest.
    • 82 Metascore
    • 80 Critic Score
    With Weather, Ndegeocello shows how she's poised to follow Animal Collective down the rabbit hole and into a promised land of greater musical freedom.
    • 64 Metascore
    • 80 Critic Score
    After one listen to I Get Wet, you'll swear you've heard it before... but somehow, you've never heard anything like it.