Village Voice's Scores

For 764 reviews, this publication has graded:
  • 47% higher than the average critic
  • 2% same as the average critic
  • 51% lower than the average critic
On average, this publication grades 4.3 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 Lost And Found
Score distribution:
  1. Negative: 48 out of 764
764 music reviews
    • 97 Metascore
    • 90 Critic Score
    Whatever it was supposed to achieve originally, right now SMiLE sounds like a beautifully modulated, funny, sometimes unintentional meditation on a failed United States and counterculture, and the lost paradise, real or imagined, of Southern California, and the collapse and reinvention of the male ego.
    • 97 Metascore
    • 70 Critic Score
    Less rehearsal, less production, and fewer layers of sound let Loretta's Lorettaness shine through.
    • 95 Metascore
    • 90 Critic Score
    When talking about an album as multilayered, thematically diverse, and sonically rich as OutKast's Stankonia, though, the best thing is to boil it down to its essentials, its influences, its approaches. You know, the uppercase conceptual stuff. This album, the acclaimed Atlanta duo's fourth and best, contains so many hummable hooks, so many snap-your-head beats, so many break-'em-out-and-talk-about-'em metaphors, that it's easy to get lost in the sauce.
    • 94 Metascore
    • 90 Critic Score
    Kanye is rapping and singing better and with more tenacity than he ever has on Fantasy, but also less often, wisely allowing others to speak for him-every single guest artist on this album senses the moment and rises to the occasion.
    • 93 Metascore
    • 80 Critic Score
    An outlandishly imaginative collaboration.
    • 93 Metascore
    • 90 Critic Score
    The voice you hear on "Love and Theft" is not that of the cocky young rock star who wrecked folk by simply strapping on an electric guitar, nor is it the vengeful and crotchety man who dripped Blood on the Tracks. This Dylan is older, wiser, and grousier, but sweeter, more sanguine if still unsettled too.
    • 92 Metascore
    • 80 Critic Score
    This is nightmare music--a blue-collar purgatory made of American mythology and populated by its grotesques.
    • 92 Metascore
    • 90 Critic Score
    When Dizzee thinks very deeply--worrying about growing up, about those around him who won't grow up, about dying before he grows up--he sounds like, what else can we call it, the real thing.
    • 92 Metascore
    • 70 Critic Score
    The second side is the dullest sequence they've put together since tracks five through 11 on their debut.
    • 91 Metascore
    • 90 Critic Score
    Where Dre twists Prince remnants to his own astroboyish amorous ends, Big Boi holds up OutKast's P-Funk revival tent.
    • 91 Metascore
    • 80 Critic Score
    What hasn't gone away is Skinner's ability to put you right there, in the middle of the action, and that goes for his production as well as his lyrics.
    • 91 Metascore
    • 70 Critic Score
    It's got a few clunkers and slow spots, and, especially given the depressive tempos Johnson's so fond of, it's inadvisable to ingest in one sitting. But surprisingly Guitar is packed at least as solid as his last set, and it's less conventional to boot.
    • 91 Metascore
    • 80 Critic Score
    If you like one Strokes song, you'll like their whole album.
    • 90 Metascore
    • 90 Critic Score
    Original Pirate Material is England's first great hip-hop record mostly because it isn't a hip-hop record. It's hard to say exactly what it is.
    • 90 Metascore
    • 90 Critic Score
    Funeral is a remarkable record, hard to hear at first, then hard to stop hearing.
    • 90 Metascore
    • 90 Critic Score
    The resulting, mercifully final product is, as you might have suspected all along, fantastic, by turns triumphant, defiant, and gleefully crass.
    • 90 Metascore
    • 80 Critic Score
    While the percussion-free 'Endorphin' and 'Dog Shelter' paint haunting pictures of isolation and heartache, a warm and generous humanity runs just beneath the surface. It's this quality that lends the propulsive woodblock throb of the closing 'Raver' its muted euphoria.
    • 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.
    • 89 Metascore
    • 90 Critic Score
    Album number five dwarfs its predecessors because the members have started treating this group as the sun around which their musical projects must inevitably revolve, and the home to which they must return.
    • 89 Metascore
    • 80 Critic Score
    MPP is filled with enough new achievements that it's a waste of space to lament the past. It's a rhythm record with an atmosphere.
    • 89 Metascore
    • 90 Critic Score
    Make no mistake: Hell Hath No Fury is a major event.
    • 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.
    • 88 Metascore
    • 80 Critic Score
    Underneath all the scuzz and spasm, though, they're a groove band, hustling a hard-edged experimentalism you don't have to work hard to enjoy.
    • 88 Metascore
    • 90 Critic Score
    Like a great romance, it's consistently lovable even when stupid or frustrating, and its best moments are absolutely breathtaking.
    • 88 Metascore
    • 70 Critic Score
    It embraces rock guitar again with the same gulping pleasure with which Harvey is for once embracing her man.
    • 88 Metascore
    • 90 Critic Score
    The stupendous Destroyer's Rubies, recorded with a full, swaggering band, is maybe his best and certainly his least theoretical album.
    • 88 Metascore
    • 80 Critic Score
    Vespertine is an album for small curtained establishments, for taking your "little ghetto blaster" onto back streets, for intimate and precious occasions.
    • 88 Metascore
    • 90 Critic Score
    Previous albums have never quite captured those onstage moments when the power they generate seems to catch them unawares, but on The Woods you can hear not only the deliberation in Weiss's eyes as she ponders the exact placement of beat and crash, or Brownstein's bedroom-mirror rock-star poses, but also the stunned grin Tucker can never contain after emitting her most gravity-defiant shrieks.
    • 88 Metascore
    • 80 Critic Score
    The arrangements, referencing indie-rock more than participating in it, pile on heft to the small-life tragedies: Matt Brown's sax toughens up Spoon's welterweight ranking, while [Eggo] Johanson's piano gives it roots, rag, and bonus rhythm.
    • 88 Metascore
    • 90 Critic Score
    Ghost's Fishscale is the most creative album to come out of New York hiphop since his own 2000 Supreme Clientele.