One-man synth-pop act Ernest Greene's singing lacks firm consonants and dribbles out unintelligibly most of the time over the most compelling of his stripped-down electronic compositions. [Aug 2011, p.122]

12 tracks that are so feeble and lifeless, it's actually painful to put effort into reviewing them. [Jun 2005, p.160]

Basically, Odditorium sounds like a giant "fuck you" to [their] record label. [Nov 2005, p.218]

Will make you thankful your stereo has an easily accessible off button. [May 2005, p.136]

This is electronic by numbers. [Jun 2009, p.111]

Candy Ass is a mess, drifting without a rudder between half-baked folk and warmed-over electronica. [Feb 2006, p.120]

In the Grace of Your Love is lethargic and shapeless. [Oct 2011, p.109]

Patton's latest fantasy-headache is a one-song, 55-minute conceptual misfire that careens from acid-casualty chamber music to high-velocity cartoon metal. [Feb 2004, p.82]

Heady Fwends has racked up about one song's worth of decent material-only none of it is in the same song.

The larger flaw of This Is All Yours is the excessive studio ornamentation attached to songs like "Choice Kingdom" and "Hunger Of The Pine" that fails to cover up unbalanced, disjointed writing. [Oct 2014, p.96]

It's a shame that there's so little of note on Free, because Gil Norton's production is fantastic as usual. But bless his heart, it's ultimately a wasted effort.

Orchestral additions are cool, but here they dominate both in terms of volume and notes-per-minute, transforming potentially aristocratic black metal like "The Cult Of Venus Aversa" and "War" into poorly layered sonic slop. [Dec 2100, p.111]

Tricky without edges and paranoia is freakin' dull. [Sep 2003, p.118]

It's not that Elbow's half-Travis, half-early-Radiohead Britpop shoegaze routine is patently shitty; it's just hopelessly forgettable. [Mar 2006, p.134]

One shudders to think how wack the rejects are. [Nov 2004, p.156]

The songs feature countless tired hip-pop cliches: gratuitous scratching, tinny programmed beats, burbling keyboards and faux-sexy lyrics. [Mar 2008, p.147]

Nearly everything that made Fitz And The Tantrums interesting has been thrown out the window for More Than A Dream. Fitzpatrick has run out of anything interesting to say, instead relying on awful cliches. [Jun 2013, p.96]

For the most part, the album rehashes an overdone genre full of blustery, unoriginal, cryptic lyrics. [Mar 2010, p.94]

Man, this thing sucks. [Oct 2004, p.146]

The guitars are processed into high-tech oblivion, and every song is eight minutes long when it should be five. [Aug 2003, p.100]

Umpteen attempts at serious lyrics topple this album right off the runway. [Apr 2014, p.91]

Sounds like a teenage Faith No More at their first practice. [Sep 2003, p.116]

Disastrous. [Oct 2004, p.144]

Since when is pairing Jewel's poetry outtakes with modern-rock riffs groundbreaking? [Aug 2003, p.102]

Plays out like a tepid, second-rate version of Iowa, which pretty much makes it a third-rate anything else. [Jul 2004, p.142]

In one word: lackluster. In two words: dead boring. [Aug 2001, p.90]

Pathetic. [Jul 2005, p.182]

Nauseatingly upbeat. [Oct 2003, p.138]