Getting mauled by that white tiger sounds a bit more exiting. [Year End 2008]

Great Thunder is nothing but dull, adult contemporary rock-lite that swings with the tempo of a slow cooker. [Aug - Oct 2018, p.85]

Williams' songs are extremely repetitive, relying on MAX/MSP texture for their variance but proceeding at such a pace that it's easy to zone out, a tendency exacerbated by Williams' apparent three-note vocal range. [Fall 2007, p.77]

Origins is frankly very boring. [Winter 2010, p.71]

They rarely let loose with their old 4AD/post-punk strafing runs. [Holiday 2009, p.80]

It rarely displays much spirit, or even a pulse. [Aug/Sep 2012, p.122]

Listening to Varshons 2 is like catching up with a childhood friend--on surface level its pleasant, but as the conversation persists, the friendly emptiness becomes too painful to bear.

Washington Square Serenade is an utterly unlistenable failure. [Fall 2007, p.87]

The fragments don't fit together, and one ends up dreading the next mistep. [Fall 2009, p.74]

Aside from the obvious point that it is strange hearing Dylan, née Robert Zimmerman, singing Christmas songs, it is often just awkward to listen to the elder's scraggly croak making its way through commonly known carols.

Dull, aimless, slightly pretentious, and overall a work that few people will ever find reason to put on the stereo. [#7]

There's a whole lot of sulk without much substance to back it up.

It's Morrissey's weakened, diminished lyricism that kicks it down from being a solid-if-not-stunning Moz record to something almost unpalatable.

Some of the arrangements wouldn't be that bad if they hadn't been sampled and sequenced to death. But if over-producing the life out of something is one thing, any use of the dreaded Auto-Tune facility is another. It runs through A Brief Inquiry Into Online Relationships like the plague to the point where numerous listens later I still have no idea what Matty Healy's actual singing voice sounds like.

It's a tough listen, shrill and disjointed.

The snarky, ironic title only seems to poke fun at what is Daft Punk's most programmed and artificial album to date, and this is just a part of what feels like an all in-joke record. [#9]

Painting With is by a distance the most annoying album you'll hear this year, and not just because it sounds exactly how those people imagine the band always has.

There is zero expectation for Blondie to create Parallel Lines 2.0. That would require an actual miracle. Pollinator, however, is too removed from oh so many things that made Blondie great to be acceptable.

Despite a committed effort, Wonderful Wonderful isn't a title that accurately reflects its content.

These three Coventry lads crank out a predictable rock album with no real direction at all. [Fall 2008, p.86]

The overriding feeling is that this is a remarkable piece of self-indulgence rather than anything you would want to, I don't know, ever listen to. [Oct/Nov 2012, p.133]

The whole thing almost makes you wonder if Kevin Barnes isn't fucking around just to see what he can get away with, as he spends the better part of the record playing against his own strengths and nearly everything the listener has come to expect. [Fall 2008, p.77]

The best next step would be to return to form as soon as possible and forget these Evil Urges. [Summer 2008]

The banality throughout iii detracts from any basic pleasure possible from the beats. [Jan/Feb 2016, p.57]

Any way you slice it, Trail Of The Dead is a sad case in selling out. [Winter 2009, p.68]

An astonishingly boring band. [#5, p.103]

The intriguing collage cover of Hamburg Demonstrations is the best thing about this album, which feels unfinished, more like a gathering of demos than a realized, cohesive collection.

The brashness of the band's seminal debut is gone, and what's left is a band that seems to have rushed an album out only in order to get back on stage to try to make it interesting. [Spring 2009, p.79]