Not content to leave well enough alone, however, the female/male tradeoff vocals take over, stranding the remainder of songs somewhere between emo and alternative--not a great place to be. [Winter 2008, p.88]

For people who enjoy overly polished, sub-par bar bands. [Winter 2008, p.89]

There are some entertaining songs here ('Drive On, Driver,' 'I’ll Dream Alone') but overall, there is scarcely an affective moment on Distortion. [Winter 2008, p.83]

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]

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

Spencer and Matt Verta-Ray go even farther into chugging rockabilly riffs and hiccupping Elvis poses they explored on their 2006 debut. [Summer 2007, p.90]

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

Instrumentally, the album might be as strong as any Stooges work, with blistering guitar, blazing tempos, and well-placed skronking sax, but time and again, Pop proves its hindrance. [#17, p.93]

The problem once again is that it’s all been done before and better. [#15]

This vapid, vacuous collection of worthless songs... contains so little in the way of either authentic moments or accessible melodies that it is... purely insufferable. [#15]

If this is what happens when Keane attempt to delve into darkness, the mind reels at what these guys would sound like when they’re in a good mood. [#14]

If you're really into jazz (and I mean really) or are a Four Tet completist, this is for you; if not, I'd stay away. [#13, p.92]

Everything sung here is manufactured to conjure up the same bullshit sense of nostalgia that the band's James Joyce-inspired name is supposed to. [#12, p.93]

Safe and uninspired.... This is the type of MOR impulse buy that will eventually pollute used-CD bins everywhere across the world. [#13, p.93]

An ugly mess. [#11, p.116]

All but unlistenable for five of its six songs. [#9]

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]

Now, potty humor can be funny, but when it's 15 tracks of potty humor set to Raffi polkas, it's just annoying. [#9]

Unoriginality at its best. [#8, p.109]

Avril Lavigne telling girls to abstain from sex is more punk than anything on this record. [#8, p.110]

His... worst album to date. [#7]

This is astonishingly horrible and completely unlistenable. [#7]

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

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

This sounds like what writers for a comedy skit trying to make fun of avant-garde music would come up with. [#5, p.114]

Sorry ladies, a foreign accent, cheap synth sounds and zero hooks ain't cutting it anymore. [#5, p.111]

Upon hearing the endless barrage of banalities on Liz Phair, it's hard not to feel scorned by the trite and shrill pop songwriting. [#5, p.106]

Vulnerable has a cheap sound and a cut and paste feel from beginning to end and is hard to shake. [#5, p.110]