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: 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
    • 61 Metascore
    • 40 Critic Score
    18
    Nearly every song sounds like either a redux of or reject from its predecessor.
    • 52 Metascore
    • 40 Critic Score
    Confused rock and r&b conceits wander into onrushing 16-wheelers of c&w—barbershop quartet-ish background vox, crisp git-fiddle plucks, lyrics equal parts syrup and cheer. The tightrope he's walking is dental floss, but he still leans into every note.
    • 71 Metascore
    • 40 Critic Score
    Those who looked at the Distillers as the hope of 2003 might be disappointed that Dalle's stuck in 1994.
    • 72 Metascore
    • 40 Critic Score
    There's little on Parachutes that demands attention or punctures the pensive spell, and, unlike Travis's, Coldplay's hooks are slight.
    • 75 Metascore
    • 40 Critic Score
    This is the kind of thing indie boys put on when they want to have sex.
    • 51 Metascore
    • 40 Critic Score
    Padded with medleys and between-song skits, hampered by a demonstrable lack of both personality and hooks, it's craven, depressing, and irresistible all at once.
    • 72 Metascore
    • 40 Critic Score
    Neither as bad as you might fear nor as good as you might hope.
    • 66 Metascore
    • 40 Critic Score
    Suggests nothing so much as Adrenaline Rush part two.
    • 74 Metascore
    • 40 Critic Score
    By the second and third tunes, the game is up. We get it: Gang of Radio 4. This is Radio 4 Clash. And so on.
    • 80 Metascore
    • 40 Critic Score
    The last 10 or so minutes of the CD veer between bursts of riff noise more smoothly recorded than expected and washes of music to watch soft porn by, indicating the charm of being proudly abrasive and busy is wearing off.
    • 76 Metascore
    • 40 Critic Score
    Mike Mills's and Peter Buck's acoustic midtempo strummings and electronic ambience match 1992's Automatic for the People for lethargy, without the looming darkness or catchy sentimentality that made it compelling.
    • 74 Metascore
    • 40 Critic Score
    Only once do the Kings offer an identity worth bugging out in a club over, on the reckless and fantastic "Taper Jean Girl." The rest of the time, it all seems more confused and cynically gimmicked than inspired.
    • 51 Metascore
    • 40 Critic Score
    Most tracks trade impact for cheesy hooks, skittery beats, and rudimentary keyboard riffs that can't help but evoke that jiggly seizure-type shit Puffy's dancers were big into a few years back.
    • 59 Metascore
    • 40 Critic Score
    His old-school MC sensibilities clash with his need to make unit-shifting quotas, and it trips up the record.
    • 72 Metascore
    • 40 Critic Score
    A rep-building, played-out retread of gangbang reveries set to so-so def beats by this hiphop minute's latest multiplatinum matinee thug-idol for the girls-gone-wild set.
    • 71 Metascore
    • 40 Critic Score
    The set is just a curio, banking everything on Black's low register, which has the texture but not the stamina to pull off so many slow, velvet lullabies about sour romance.
    • 76 Metascore
    • 40 Critic Score
    This is the sound of a band run dry.
    • 71 Metascore
    • 40 Critic Score
    Furtado is game... but Timbo brings beats, not chemistry. Loose isn't a love child, but a bump-and-grind that never finds a groove.
    • 75 Metascore
    • 40 Critic Score
    Takes rock to Seussian levels of ridiculousness.
    • 52 Metascore
    • 40 Critic Score
    Sexuality doesn't sink 20 Y.O. as much as the beats do.
    • 67 Metascore
    • 40 Critic Score
    It's all very funny and cheeky, but after a full album's worth it grows cloying, like a good Saturday Night Live skit that's two minutes too long.
    • 64 Metascore
    • 40 Critic Score
    Townshend's faith in rock 'n' roll as an appropriate vehicle for his biggest ideas is admirable, but Endless Wire does little to justify his devotion.
    • 68 Metascore
    • 40 Critic Score
    That voice is still "that voice," but gravity was never what made it fly.
    • 76 Metascore
    • 40 Critic Score
    Abandoned Language is film noir compared to the group's previous claustrophobic slapstick, and unfortunately that newfound seriousness isn't such a good thing.
    • 68 Metascore
    • 40 Critic Score
    [The album] s clogged with reverb-choked guitar riffs too woozy to propel the garage rock they ought to carry.
    • 72 Metascore
    • 40 Critic Score
    Beneath the haughty schmaltz of his fifth LP—embodying Herb Albert one moment and a particularly peach-scented Little River Band the next—there are only momentary flashes of the high-quality torch songs we fell for so long ago.
    • 61 Metascore
    • 40 Critic Score
    T.I. vs. T.I.P. makes for a confusing listen, which is a shame—fans would probably never have questioned who T.I. is until he started questioning himself.
    • 65 Metascore
    • 40 Critic Score
    Anti-war, pro-environment, religious ('Chelsea Rodgers' only gives up trim if you're baptized), and funky, Planet Earth is still merely an excuse to tour.
    • 62 Metascore
    • 40 Critic Score
    So while '5 Times Out of 100' and 'My Best Friend' revive old times, you miss Steve Bay's unhinged vocals and jagged keyboards elsewhere when HHH instead try to compensate with a funky chant- rocker ('Give Up') or a big-drama Raspberries tribute (the title track).
    • 78 Metascore
    • 40 Critic Score
    With 10 tracks adding up to a mere 34 minutes, this follow-up is much more wan and insubstantial than its predecessor.