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2007: Albums of the Year


25. Robert Plant & Alison Krauss, Raising Sand
Though it screams 'Grammy!!', from the first guitar lick to the final fade-out, this unlikely musical pairing of three great talents from three disparate genres (Led Zep wailer Plant, bluegrass chanteuse Krauss, and magic producer T-Bone Burnett) succeeds at all levels and becomes an easy concession to the country genre for even the most jaded hipster wannabes. As unlikely on paper as it is inexplicably wonderful on record, the musical relationship between Plant and Krauss is a delicate thing of beauty, gentle and seamless, almost like the courtship dance the album's sticker promises. Gluing it all together is Burnett's easy-going production, lean on excessive flourishes and long on the necessary accoutrements for such a commercial yet lovable album.
24. Booka Shade, DJ Kicks
Another year, another strong crop of DJ Kicks installments. The latest effort in the installment, from German production duo Booka Shade (flagship artist of Berlin label Get Physical) is typical of this period of DJ Kicks: seamlessly sequenced collection of disparate music genres, which on paper seems ridiculous to attempt, but sounds as natural as a bass guitar and drums pulsing together. Booka Shade is no exception, interweaving Yazoo, the Tubes, Aphex Twin, Brigitte Bardot and the Streets with lesser-known electro artists for a 70 minute exercise in flawless musical innovation and borrowing. Their own new song (as mandated by DJ Kicks rules) is also one of the best of the series, a chilled jazzy number called "Contact". Listen at your own risk: you will become addicted.
23. Dälek, Abandoned Language
Consistently under-rated and head-scratching, more in line with shoegaze or Aphex Twin than hip-hop, this duo from New Jersey create discordant albums usually filed under hip-hop, but which in reality are discordant experiments in anemic drum loops, muttered vocals and overwhelming gloom. To say this album is offsetting is to put it lightly: it begins with a sprawling 10-minute track that has not a single hook (then again, the rest of the album doesn't either), and carries on that way for the better part of an hour. Dälek's raps are of the densest brick-like wordplay, and are definitely not MTV-worthy, but it is a relief that there are fearless groups out in the world of hip-hop daring to challenge the conventions of the genre.
22. Animal Collective, Strawberry Jam
With all the enthusiasm of ADD-riddled kids on psychedelics around a campfire, New York's Animal Collective drop another album of shamanic sing-alongs and kaleidoscopic drug-pop experiments. For all its acclaim, I still prefer their previous album Feels, but no doubt this is another strong effort from this innovative and entertaining group.
21. Ricardo Villalobos, Fabric 36
Leave it to Chilean-German DJ Villalobos to complete defy the concept of a firmly established and respected mix series. The Fabric series is a showcase for producers and DJs to create a live mix CD of their favorite tracks and du jour hits. The most famous microhouse producer instead used the platform to create a mix CD of all-new originals. Selling a mix CD in this day and age (where CDs are essentially dead), is a tough deal, but Villalobos sweetened the deal with his arrogance and sheer talent. I won't hide my love for him, and I encourage everyone to get this album: producers don't come much more talented than him.
20. Jay-Z, American Gangster
The Great Retirement continues. Then again, listening to this album would make you wish Jigga saw more of movies rather than of Chris Martin. Following his ballyhooed and booed comeback album with a loose concept album based on a sub-par gangster flick would have been a nail in the coffin of a lesser rapper: instead, Jay-Z eschewed any hit singles, and turned in his densest, most delicious raps since his debut album over soulful tracks by mostly-unknown producers. The result? Another winner, and a lyrical tour-de-force that will be dissected for years to come.
19. Justice,
Riding an undeniable Jackson Five-esque sample to become the second-most famous French electronic duo in the world, it was only fitting that Justice's debut album would divide the crowds of music critics and fans: is it a couple of good songs and a bunch of album filler? Is there life beneath this album's few charms? Owing more to Judas Priest than Daft Punk, the duo decided to name their full-length after a nearly unpronounceable symbol (after all, they "didn't give a fuck" about publicity - right!), and created an album that was your favorite for a couple of months, and will be a novelty in a couple of years. I can't wait to hear the woofer-shredding "Waters of Nazareth" and get that tingle down my spine.
18. Spoon, Ga Ga Ga Ga Ga
Possibly the worst album title for one of the year's best. Then again, it seems as though Spoon has gone back to basics, so why not name their effort for one of the first sounds we make as humans? After the triumph of Gimme Fiction, the band turns inward with an economy of sound rarely seen in contemporary pop: 10 songs, 36 minutes, not a note wasted. Britt Daniel can write a tune with the best of them, and the ten on display here stand up with a year's worth of pop gems, especially the centerpiece "The Underdog", a tune about overcoming complacency and taking risks. Shame more people didn't risk buying this album.
17. Caribou, Andorra
When you are an electronic artist, sometimes it goes a long way to have a math degree in the process. Dan Snaith is an institutionally-recognized math genius, but this year it paled to the music he created. Since his Boards of Canada-baiting debut, he has stepped into a psychedelic realm of colorful noise, but he has not made what could be called a classic. Until Andorra. Though I thoroughly liked The Milk of Human Kindness, listening to this album made me realize that it was a little lacking in melodies and pop songs. Snaith does not dumb it down for morons here, but he does write a handful of great pop songs that maintain his signature sound and frequent attempts at motorik. Perhaps he never will be outstanding, but he will be consistently worthwhile.
16. Pharoahe Monch, Desire
Pharoahe's status as one of the best rappers in the game was cemented by a big single ("Simon Sez") and his debut album - released eight years ago. That's a bit of a gap in today's music scene, and instead of recruiting big producers and guest rappers for a bloated affair, he keeps it streamlined: the bulk of the production is handled by Mr. Porter, and only guest singers come to sing the hooks, while the album itself is only 45 minutes long. As for the music itself? Banging like the landlord on your door, all fire and his signature internal rhymes. And when he drops a near-verbatim cover of Public Enemy's "Welcome to the Terrordome", you get shivers down your spine. According to Pharoahe, rap is critically ill, but he's doing his all to resuscitate it.
15. Sally Shapiro, Disco Romance
After last year's monstrous single "I'll Be By Your Side", producer Johan Agebjorn and his mysterious muse (the name is a pseudonym) dropped a full-length that did not have a song as overwhelming as that one, but contained a collection of songs that were in the same italo disco vein - one of the more pleasant electronic scenes of the past few years. The album was released in Europe last year, but was re-released to North America with three extra songs and an extended mix of "By Your Side" included this fall. The result is the perfect winter album, warm and pleasant while the mercury drops.
14. Nine Inch Nails, Year Zero
Written off for dead after 2005's pop concession With Teeth (despite containing some of the best NIN songs to date, and a fierce live show), Trent Reznor rebounded - in record time - for this dense and uncompromising effort. The music seethes and rages with chainsaw guitars and disembodied electronics (it was recorded exclusively on computers during their tour after all), a post-apocalyptic dead zone somewhat the result of the current outgoing US administration, but the most remarkable story behind the album was the promotion. I won't go into detail, but the link (http://en.wikipedia.org/wiki/Campaign_timeline_of_the_Year_Zero_alternate_reality_game) can fill you in on the awesomeness of the process. Not bad for a man who usually takes half a decade crafting albums, and a welcome return to form.
13. Blu & Exile, Below the Heavens
Like Blu says, if there's an E in it, drop it. As amazing and mature as this album is, its even harder to believe the MC is only 22 years old. He carries his skills with charisma to spare and his effortless rhymes over Exile's lush strings and taut drums easily make this the most slept-on hip-hop album of the year, an album that Common and Lupe should have made but don't seem to have in them. Blu's West Coast raps have none of the superfluous gang signs, hyphy or Pimped cars, but rather the introspective insights Common used to drop when he was as hungry as this. Flawlessly executed, and a must-own for any self-respecting hip-hop fan
12. Kathy Diamond, Miss Diamond To You
Any album produced by Maurice Fulton and featuring a little-known chanteuse will invariably evoke comparisons to his best-known project, Mu, with his wild geisha wife. But instead of Mu's bizzaro-electro and tribal chants, we get a lush disco throwback that might have been lost after its creation in 1978 and rediscovered this year. Fulton's production here is pillowy synths, live drum loops and an obscene amount of funk slap bass, and Diamond (an unknown singer from England) touches on the requisite disco themes: love, dancing and more love and a little more dancing. Most important are the songs - relaxed, mid-tempo and with melodies to the horizon, and no irritating genre experiments. So while it sounds monotonous and homogenous, it is a hazy and romantic disco that you won't want to leave anytime soon. Well worth discovering.
11. The National, Boxer
Unfairly overlooked at its release, then lionized as 'slept-on' afterwards, all eyes were on the New York collective National to chart their next move after their debut Alligator. What they gave us is a spot-the-references gem of an album, one that would sound naturally at home between The Joshua Tree and The Queen is Dead, but is perhaps the closest spiritual cousin to Interpol's Turn on the Bright Lights yet released. Beneath a blanket of suffocating, romantic blackness, the band and world-weary singer Matt Berlinger attempt to claw their way out of 21st century America itself as pianos and drums clatter all around them.
10. M.I.A., Kala
Becoming a bona-fide star in the wake of her debut Arular, with celebrity endorsements, guest turns and immigration issues with the US (I bet she just loved that one), it seemed M.I.A. had nowhere to go but down. So while this album does not have the magic of the debut, the fresh 'newness' of it, it does showcase a more confident and stronger artist more willing to take risks. The viral beat of "Bird Flu" is pure disease, she tips her hat to classic Bollywood musicals with "Jimmy", she enlists an Aboriginal Australian children's rap group, samples New Order and Modern Lovers without the least hint of irony, has a track with more gun sounds than a 50 Cent album, and even includes a horribly shitty Timbaland collabo that proves no matter how beloved he has become recently, he could never create even a single song as nasty and foreign as this album. Where she goes from here is anyone's guess, but it will no doubt be worthy of a listen.
9. Panda Bear, Person Pitch
The "Beach Boys on acid" musical genre has had a few major hits in its lifetime, and can proudly add this perplexing album to its repertoire. Panda Bear, born Noah Lennox, of the New York musical collective Animal Collective, jetted to Portugal and fiddled around on his computer creating this hazy and slow-burning album that becomes better every time you hear it. The found sounds floating in and out of the mix, Panda's Brian Wilson-channeling voice and the insistent rhythms all become a small bug slowly making its way into your brain; before long, you can only smile and nod in defeat while it runs circles around your idea of what music is.
8. The Field, From Here We Go Sublime
Usually, electronic music is the hardest to properly describe to others: without any evidence of humans on the tracks, we are left to decipher what the machines might be trying to tell us in their rhythms, flashes of melody and suggestions of light. I won't attempt to make sense of this album's beauty, nor the rabid critical acclaim it has generated; rather, I can only relate what memories it brings to me. For me, this album will always take me back to Frankfurt's airport, straggling around in sleek German architectural efficiency, being taxied on the runway with a jumbo jet only feet away, eagerly awaiting a flight home. I suggest you track it down and submerge yourself in it.
7. Of Montreal, Hissing Fauna, Are You the Destroyer?
Turning heartbreak into symphonic triumph, Kevin Barnes created an album that, nearly a year past its release, remains one of the finest and freshest examples of indie songwriting craft this year. Some fans complained about the band's gradual move from straight-out psychedelia to the glammy genre-hopping on display here, but this was arguably their most well-received and successful album to date. Every song on this collection is one part of a larger picture: groovy bass, leftfield samples, and a whirlwind Barnes emoting in falsetto about a recent failed relationship, all flowing together like a ballet. Savage lyrics over conquering melodies, of course it was bound to work.
6. Amon Tobin, Foley Room
Tobin's music is manna from the heavens. In a way, this is his first album in seven years (or so hardcore heads will testify), the true aesthetic and spiritual follow-up to his masterwork Supermodified. In my books, discounting the uneven Chaos Theory soundtrack is fine, but 2002's Out From Out Where, though a departure in style, is a fine album on its own strengths. Here, Tobin is back to creating paranoid and bugged-out (sometimes literally) sound experiments with a litany of found sounds and foley room-sampled creatures (lions, bugs, etc.), not to mention enlisting real humans in his endeavors to create another genre-defying work. The one complaint? At 50 minutes, it is a full half an hour shorter than his debut Bricolage. An album this good could only leave you wanting more, and hoping the next one isn't seven years in the making.
5. El-P, I'll Sleep When You're Dead
Released in the wake of 9/11 and the PATRIOT Act, Fantastic Damage suggested a world gone to the dogs. Well, shit got even realer in the years to follow, and now five years after the fact, Jamie Meline is back with his follow-up - and he is almost resigned, much like the dead-eyed colleague he encounters in the opening song, stating "I maintain". His rapping is as razor sharp as ever, but his weapon of choice has always been his production, and here he eviscerates the competition. In and out in under an hour, while razing the landscape: I'm sure there's a good Iraq comment in there somewhere that he would turn into a savage punchline.
4. Battles, Mirrored
The most unexpected musical success story of the year, this supergroup (of musicians from bands you've never heard of) created an album that might as well be seventy years ahead of its time, a throwback from a future where cyborgs sit down with organic instruments and create a magic hybrid of mechanically precise math-rock, both meaty and sinewy with wires. It's not likely these guys take solos to show off, but its their cohesiveness that works: the interplay between the instruments is simply staggering, guitars and bass bobbing and weaving between polyrhythmic drum hits, always threatening to spiral out of control, but pulled back with a wry grin. And the vocals? Cyborgs attempting to mimic that silly human speech pattern, more often than not for laughs, while said humans are busying getting their drinks and fighting for the cyborgs' entertainment. For all its heady math rock pedigree, the one rock album that actually works on the dancefloor.
3. LCD Soundsystem, Sound of Silver
James Murphy likened the "sound of silver" to that magical quality that all classic albums have: Queen, U2, the Stones, the Beatles. With his sophomore album, Murphy has entered that rare air and illustrious company. Upon the release of the first few LCD singles in 2002, it was sound of the future, of young men making a terrific racket, creating a revolution and having a blast. Half a decade later, the men are older, wiser, and more resigned to an ordinary life, and here they create what might be the golden-haloed swan song to their youth. Although there is a resigned air about the album, it is still one of the best amalgamations of the dance-rock genre LCD helped create - so while "Someone Great" is a heartrending chronicle of the end of a friendship (love?), it is set to the most delicate and melodic fuselage; and though "All My Friends" is the bittersweet reminiscence of the 'good old days', it is set to a propulsive and wistful beat and a single piano chord that is pounded out for seven glorious minutes. It's sad to think these songs will be soundtracking all sorts of weddings, birthdays and funerals in decades to come, but at least it will raise a smile and perhaps move some feet.
2. Burial, Untrue
Burial's debut album was released last year with absolutely no backstory, and stormed the electronic scene. It was hailed an instant classic, an album that in the future will act as ground zero for the dubstep genre, a Blue Lines for the new century. One year past, nothing in the genre has come close to it. Until now. It is remarkable that in such a self-obsessed world we still do not know Burial's true identity: no pictures, no name, the barest of anonymous interviews. That sort of dogged protection of identity means Burial's DUI mug-shot won't be circulated, but it also throws the music stark naked and isolated into the world to fend for itself. Thankfully, the music is a mutated beast, a grey horse-like being with an exposed ribcage, but powerful legs. Some of the debut's best moments were the songs with human voices: here, nearly every song has a vocal refrain that is not always distinguishable as a human (though when it is, is spouts oddly romantic sentiments), but adds to the overall overcast ambience. Burial is carrying an entire genre on its shoulders, and we are all the better off for it.
1. Radiohead, In Rainbows
The year of 2007 felt incomplete for the better part of nearly ten months, with no album standing head and shoulders above others, no easy pick for number 1. Then - October 10. Or more accurately, the week before, when one of the biggest bands on the planet announced they will release their album. For free. With a week's notice. After four years of near silence, a new Radiohead album was coming out "next week", and you can pay whatever for it. It was a technique that was risky, but in line for the famous groundbreakers. How many copies were downloaded for what price is beside the point: Radiohead again made us question what music was worth, and how do we go about attaining it in this digital age when music stores and music itself is failing. The sheer bravura of it is commendable. But the music was another story.
The five men from Oxford who constitute the most praised and acclaimed band of the past quarter century have been missing in action for the better part of the decade they almost singlehandedly shaped: there has not been a Great Radiohead album since 2000's Kid A, and it's a decade past since OK Computer. So what better way to celebrate the milestone by releasing their strongest album since? After the tired Radiohead-by-numbers effort of Hail to the Thief, this concentrated and varied album feels like a brand new band (in spite of the apparently fraught gestation), with new ideas and new emotions. The red herring opener "15 Step", with its modern glitch beats, slowly gets invaded by the organic instruments of the band, and the upbeat bass-led "Bodysnatchers" confirms it: this is a band effort first, and an electronic showcase second. With only 10 songs and 42 minutes, Radiohead do not waste a note and remind us, decisively, why we loved them in the first place. The songs are back, the melodies are pure, and the sounds are incredible. All the year needed was a little Radiohead.

Songs of the Year

5. Kanye West, "Stronger"
Let's not bullshit each other: this song is here almost exclusively because the Daft Punk original rocks: Kanye himself acknowledges it, and from a royal asshole like him, that's something. So these are more points for Daft Punk.
4. T-Pain ft. Yung Joc, "Buy U a Drank (Shawty Snappin')"
T-Pain might be the R&B/rap songwriter of the year based on his hit streak. Though he has hit number 1 on the charts with several songs, this is the best one, a laid-back groove that scavenges numerous references to recent hip-hop songs and bought a drank for the entire nation.
3. Rihanna ft. Jay-Z, "Umbrella"
It takes a special song to go from a horrible (and I mean scraping-the-bottom-of-a-dry-barrel horrible) Jay-Z verse to an unstoppable summer machine replete with a timeless (though obviously retarded) hook. Rihanna barely had to stay awake for this mechanized beast of a track, and she sounds like a sleepy sex-bot here, doing the bare minimum to get it into ubiquity.
2. Justice, "D.A.N.C.E."
I mentioned this song, right? It is either the most unbearable sample you have ever heard, or the most joyous. Either way, you could not get away this year without hearing it at least once. Who can say how it will hold up, but for this year, this was a supreme track.
1. UGK ft. OutKast, "Int'l Players Anthem (I Choose You)"
This is what happens when three Southern duos, giants in their field, hook up to make a song. Andre 3000's starry-eyed arrhythmical verse over a glorious R&B sample, a beat worthy of a strip joint kicking in as UGK spew all sorts of catchphrases over Three 6 Mafia's production, and Big Boi coming in to wrap it all up. It's about the rise and fall of a relationship, ending in an ugly-ass divorce, but while it's rolling, who really cares. UGK had a career year, and ended on December 6 when Pimp C was killed in L.A. Truly tragic, but magic while it lasted.

Disappointments of the Year

3. Bjork, Volta
There can be no mistaking or doubting that I am a huge Bjork fan. One look at my CD Library under B will unearth every LP Bjork has made, and any new album from her is enough to make me salivate in anticipation, as she has consistently been one of the most creative and fearless artists in the past couple of decades. So when a Bjork album makes my Disappointment list rather than the Best list, you know that it is subpar. Now let's get this straight: Bad Bjork is better than no Bjork at all (and better than most artists can ever aspire to), but Volta is her first album that has not impacted me even after endless listens. Perhaps the worst thing about it is her willingness to bring Timbaland on board and produce three songs. This is somewhat akin to Chopin asking to collaborate with Chris Martin: completely unnecessary and a regression. Most of the songs are listenable, but are limpid and lacking the spark that we ought to get a decade after her greatest album Homogenic - and perhaps that is the greatest shame of all, the decade long trip from that album to this one. Still, I will always give her a second chance.

2. Interpol, Our Love to Admire
Interpol's music has always been somewhat monochromatic like their album covers, but as soon as they added deer and lions to their album cover (possibly the worst of the year) in an attempt to add color, their music suffered. The New York band always walked a thin line between shameless Joy Division rip-offs and Great American Hope, and their first two albums walked hand-in-hand in their similarities, but here they seem to have lost focus and regressed into self-parody in spite of their attempts to branch out. Where "Pioneer to the Falls" tries to be an epic opener, it becomes turgid and lifeless; and though "The Heinrich Maneuver" is good enough, it could have been from either of their first two albums. Most criminal of all is that the songs simply aren't memorable enough, with very little to distinguish them from each other. And from a band who has made gems like "PDA", "Untitled 1" and "NYC" (remarkable songs with very unremarkable titles), that is unacceptable.

1. The Shins, Wincing the Night Away
Talk about nailing it on the head with that title. Of course, anyone expecting Chutes Too Narrow II is deluded: James Mercer was famously burnt out after its success, and another attempt at such flawless pop perfection was not in the cards. However, even they could have tried a little better. This album is closer in spirit to their debut, spaced-out and fuzzy, with none of that album's 'life-changing' hooks. Blame Natalie Portman and Zach Braff for destroying the magic of the Shins: as soon as everyone knew them to be so life-changing, the band shriveled up into their shells.

Worst of the Year


The Stooges, The Weirdness
In a year of high-profile reunion tours, this potential indie wet-dream became a worst nightmare. The Stooges were never meant to become such a staple of credibility, and their gloriously messy albums are thrown into a whirlwind of bad buzz from this effort of absolutely horrible 4th-generation retreads which makes them sound like imitators of imitators of the real thing. And for all his still-impressive physique, Iggy's voice sure is shot to shit.

Lupe Fiasco, "Hi-Definition (ft. Snoop Dogg and Pooh Bear)"
Lupe promises to retire after his next album, and is vexed he is not any more famous. Well, he sure gives it a good try on this half-baked throwaway from the first half of his otherwise good The Cool - misogynistic guest rap from Snoop, saccharine chorus, altogether terrible and not at all indicative of his style. And this from a guy who a few songs later mocks all who "Dumb It Down". Not very cool.

Mika, Life in Cartoon Motion
Years from now, when music historians are compiling a collection of the terrible acts who borrowed liberally from glam-rock's altar, Mika will rank high on the list. Sounding like a neutered dog yelping over basement-bargain disco-pop, Mika does everything in his power to retard the music industry with his brain-dead pap. Avoid at all costs!

Avril Lavigne, The Best Damn Thing
About the only thing this album was the best damn thing at is ample fodder for cries of 'hypocrite!' and 'sell-out!". Almost as inexplicable as K-Fed being the better parent than Britney, Avril ditches her punk princess persona and pulls her hair in pigtails for some madcap choreographed dancing fun! Throw in some charges of plagiarism and an upset mentor (Chantal Kreviazuk), and you have a putrid mess of calculated anti-rebellion.

Daughtry
When you are a rock 'n roller and you lose on American Idol, what is the next logical step? That's right: dumb it down even further and record a rock album that makes Nickelback sound like Slayer. To say this is rock for snot-nosed whiners is to insult snot-nosed whiners. This is the lowest common denominator of industry-sanctioned, bleached bone-dry and processed to the point it is a cheeseburger rock music, with the worst cliches ever spouted on record. I said ever. Having been forced to listen to this album a few times, I felt like an idiot with a violated ear, because Chris Daughtry does nothing less than stick his tiny penis is all of our ears with this dreck. And upsettingly, it is the fastest-selling rock debut album in SoundScan history. Fuck you, world!

High School Musical 2 / Hannah Montana The Disney Channel has spent the better part of its existence polluting the minds of youngsters with moronic TV shows and their musical spin-offs. The first High School Musical felt like the recapturing of the retro magic of Grease and became the biggest selling album of 2006. With piles of money come half-assed ideas, and here is the brasher, louder, stupider version of the same thing. And here is another pile of filthy money for its prepubescent stars and soulless creators. In the meantime, Hannah Montana and Miley Cyrus had the chutzpah to drop a double album of sugary swill for the kiddies, stage a tour that was harder to get into than Pearl Jam in 1993, and generally destroy the state of music. She really needs to cover "Achy Breaky Heart" to come full circle.

MIMS, "This Is Why I'm Hot"
Music Is My Saviour, his music is my torture. At least he listed every single hip-hop offshoot that is a million times better than he is. Fuck you MIMS.

Timbaland, Timbaland Presents Shock Value
2001 this ain't. Few producers have seen their stocks rise as rapidly as Timbaland has in the past couple of years. He had always been on the cutting edge of hip-hop for the better part of a decade, especially collaborating with Missy Elliott, but in 2006 his popularity exploded thanks to the double-shot of Justin Timberlake and Nelly Furtado, and he decided the time would be right to drop his solo debut album. Boy, what an ill-advised decision. Granted, had he spent some more time crafting better songs than these C-sides, it might have been somewhat tolerable, but this disaster just goes to show that he needs other people over his beats. In fact, the lone bright spot is "Give It To Me", and that's simply because his greatest beneficiaries are on it. The rest of the album is at times gloomy, misogynistic, dull, antagonistic, turgid, and uninspired. He tries to cater to every possible demographic, so we find Fall Out Boy, the Hives, Justin, 50 Cent, Dr. Dre, She Wants Revenge and Elton John all rubbing elbows together uncomfortably while a paranoid Timbo screams his worth at every possible moment. Unfortunately, it was a big hit ("Apologize", featuring nobodies OneRepublic, looks to be a continued huge hit in 2008), and a sequel is coming. What, more uninspired garbage from a one-trick pony? You know it!

Email: leftsun7@hotmail.com