If the lyrics were cleverer, they might work as a critique of vacant rock culture, but instead they come across as the embodiment of what they profess to be sneering at.

NAV’s songcraft is sharp, but the lack of dynamics ultimately makes this debut feel one-note.

Lulu sinks to almost unimaginable lows.

A Wu-Tangy darkness permeates the whole album, which is cluttered with gems both musical (live sax and jazz flute) and lyrical.

Brendan O’Brien, best known for his continuous work with Pearl Jam and Springsteen, takes over from Gavin Brown on Billy’s third s/t offering, and there’s some noticeable dulling of the edges here.

Sure, the beats bang like crazy, but the songs are emotionally hollow, thematically one-dimen­sional and conceptually lifeless.

After years and years of hating every ounce of Maryland's mall-punk icons Good Charlotte, it seems now that the actual trick to enjoying their music on any plausible level is to go into the whole thing with absolutely no expectations. Not even low expectations. Nothing.

His first album in four years picks up exactly where The Trinity left off: at the centre of the dance floor.

The Weirdness does have many of the recognizable sonic and structural traits, but the essential threat of impending doom is missing.

[An] utterly vacuous, unlistenable album.

Rebirth is – without qualification – the most embarrassing album of the last 10 years. Embarrassing for him, for his audience, for rap, for humanity.