The album is just a bunch of incredibly inoffensive hard rock masquerading as metal, and while its not good by any stretch of the imagination, it isn't a travesty to music either.

With a hackneyed focus on forcibly juxtaposing several random styles into their main rock sound, the stupidly long track names, and the uninspired hard rock instrumental work we get on here, essentially the album comes across as a tasteless meme.

The production quality is a crowning grace throughout the album in the face of some very dodgy writing and bad musical choices.

This is just lazily done and disappointing considering it’s been marketed very well to appear mysterious.

At a mere thirty-six minutes, it’s not a stretch to see Britney Jean as a half-baked effort, more of a commitment to be completed and shipped off than the labor of love it was touted as.

For as poor as Man of the Woods was, at least it was ambitious…unlike whatever this amorphous clump of hackneyed trends is.

The record's ADD can be felt with every unbridged leap between ideas to its shocking lack of transitions, and the whole time there is this pervading sense that Heritage doesn't really have anything to say at all.

Abnormally Attracted to Sin is, by quite some distance, her weakest album yet.

There you have it; young lads just starting out make poor-to-average debut record. Not an unusual occurrence, and no doubt a thousand other albums released that day were no better or worse than 180.

Dig Out Your Soul isn’t the worst record Oasis have produced, but even the heavily shat-upon (an unfairly so, in this writer’s opinion) Heathen Chemistry was comfortable within its own skin.

While it's not without its obvious highlights, All Hope is Gone feels too much like a demo with professional production values to make me recommend it as an album.

It’s big and postured and goes by without saying anything of significance. A lot of the blame for that goes to Brandon Flowers, since he is the voice of The Killers and all, but it seems like his band, drunk with success, doesn't have the slightest idea what to do next.

For metal devotees seeking heaviness and shred paired with otherworldly curio, Crack the Skye is the be all and end all, but for anybody without a Celtic Frost tattoo, do not follow "the wise man's staff / Encased in crystal."

What we’re left with is a somewhat novel approach that’s bolstered by improved songwriting, but ruined by a sheer lack of direction--or anything interesting to say.

Strictly speaking, it's a Gorillaz album in name only. You could commend Albarn on one hand, but then slap him with the other; the use of a 'rolling studio' and the latest in technology is inspired, but it ultimately represents the downfall of the album.

The ambitious sound of The Bright Lights of America is a dreadful fifty-two minutes long; with an average song length over three minutes.

It's not that it's post-rock-by-numbers, although at times it really is, but more so that it doesn't even sound like there are painters behind the palette.

What we get is listless by the numbers "latin rock", dull, sleepy ballads, and overblown Diva numbers I wouldn't wish on Whitney Houston.

Of course, nothing on This is Forever is really new territory; the 80’s influenced synthesizers, the electronic drums, the monotone vocalist, it’s all been heard before. It’s all been done so much better.

Sure, Blitzen Trapper attempt to vary the formula a bit--there's the jangly campfire number, or that one about astronauts--but when it comes right down to it, everything's all the same.

Korn feel tired, bland and dated.

Ufabulum is perhaps not a terrible album in any respect, but at the same time it simply is an incredibly boring one.

X is a vapid and overly confident album that feels more like regression than progression for Ed Sheeran's indie folk sound.

For its faults, Gallipoli is nice. It’s pleasant. But it’s the type of nice that makes you wonder if there was any substance there at all.

Small Craft is an attempt to puncture that bubble, but doesn't quite do it; but, hopefully, if Eno's focus is still there, the next one should. I'm at least optimistic that it will.

This isn't a slight dip in quality, it's an avalanche.

The flow of Times of Grace's debut is so jagged and stop-start.

The artificial sense that permeates as a result of the album's forced nature may be its largest detractor, and it is one damning flaw whose shadow Human Again can't seem to escape.