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| The production and mixing on this album is awful. It sounds like it was done by deaf people. This album should be lush and epic sounding, but instead it's flat and tinny sounding. |
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| He's pretty much my favorite DJ, and I really, really enjoyed his 2009 release "My Troubled Mind", but this EP is pretty lame and boring. I don't understand. |
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| The cover says it all. This album is beyond any normal levels of cheesyness in guitar wankery. |
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| After the enjoyable self-titled debut they put out last year I was looking forward to more music from these guys together. This is just some leftover songs or something, and the covers could have been good, but Boots sounds like he's not even trying to make his vocals sound tight. It's depressing. |
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| I really want to like this album as much as everyone else does, but it just feels like there's something missing from it, almost like it's soulless. Just very flat sounding. I hope he makes some money off this or something so it's worth it. |
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| I'm sure writing and producing a 2 disc concept album about the life of Imelda Marcos was quite a daunting task, but outside of a couple gems, it just doesn't pan out to a good album. I guess maybe I didn't like the disco theme of most of the production. It's too bad because they really assembled an impressive list of guest vocalists to work with on this too. |
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| This is probably their weakest album yet. Apparently delaying it a year or more didn't tighten it up. I'm also not digging the background religious theme that Black Thought seems to want to present on this album. Is he a preacher in training? |
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| It's exactly like LP3, except every single song is boring as hell. Where are the jams on this album??? |
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| This is basically Madlib's remix album for Guilty Simpson's 2008 album "Ode To The Ghetto", which I consider a modern classic. It really seems like Madlib just phoned this one in. It's funny that Madlib's brother, Oh No, also remixed this album ("Ghettodes") and did a excellent job. |
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| It would be interesting to me to hear what an Italian music appreciator thinks of this album. From my ignorant outsider perspective, it seems like this album is kind of a culture rape, but who knows. Point is that I don't really want to hear Mike Patton doing Italian opera and rock. |
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| I liked his self-titled debut. Thought it was that good kinda stupid-funny. The beats on this album are SUPER commercial, but I just don't see him hitting it big time like the production would indicate. There's some of the corniest choruses i've ever heard on this album too. Also, why did he bite 2 Live Crew with the title? |
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| After his string of awesome singles the last couple years, this attempt at mainstream pop success sounds REAL sorry. |
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| I feel like for the first time, Madlib has screwed up a potentially good album with his production antics. It seems like Guilty Simpson is barely even on his own album here with all the tired sounding vocal sample collages Madlib put on here. I don't understand why they thought this was the way to make this album. |
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| Clearly Damon Albarn is either crazily washed up, or just really needs a collaborator to work with, because this album is trash compared to the greatness of the first 2 Gorillaz albums. He ruined the franchise with this album. |
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| I liked his previous album "Feature Presentation" a lot, and pretty much anything Strange Music puts out is gold, but this album falls flat for me. It doesn't sound genuine, it just sounds like them attempting to fit in with the current landscape, which is exactly what they haven't been doing all along and was what was so refreshing about them. |
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| If Jay-Z built the coffin for auto-tune when he made that song last year, then this was the nails for it. I commend him for trying to start some weird new sub-genre of his own, but this album is just unlistenable. |
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| Seriously, who is this guy blowing in the corporate world? He went from being a shitty boring DJ to being a mediocre overrated producer, but he always gets tons of promo and critics love him. It's lost on me. |
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| This is the soundtrack/score to his new film of the same name. After the release of the "Rubber EP" earlier this year, which was just completely awesome, I was all set for this to be as good as Mr. Oizo's previous soundtrack work "Steak". I was let down when I found out that the songs that were put on the EP were the best songs on the album. There's a couple other good ones, but it's more film score-like than I wanted it to to be. |
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| I wasn't actually expecting this to be good, but this is like the ultimate corporate tool album, and just like the rest of his entire career, a waste of his abilities. |
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| After her decent comback album a couple years back, I figured she was back in effect, but this is one of those sad old people albums. |
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| Well, this is officially their sellout album. I don't know why they felt the need to have Rick Rubin produce them (he does a terrible job with this album) when whoever it was that produced "Super Taranta!" did a beyond superb job for this band. Rick Rubin puts Eugene's voice in the forefront which makes it sound more like his solo album rather than a group anymore, and they really need that full band sound in my opinion. Plus a lot of the songs on this one are just corny and uninspired too. |
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| He made the classic mistake of trying to find a middle ground between his loyal followers and that elusive pop market, and then failing to please either one by riding the fence. |
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| I expected much more when I heard this project was happening. It's still mostly orchestral stuff, I wanted an almost entirely electronic soundtrack, but whatever. I haven't seen the movie yet to see how it fits in the film. |
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