And Now the Bad News: The 10 Most Disappointing and/or Overrated Records of 2010 

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Sufjan Stevens
The Age of Adz
Sufjan has been experimenting with electronic music for pretty much as long as he's been making music at all—but with The Age of Adz, he made it his focus, and in the process revealed what is at best a cursory knowledge of the genre and the tools used to create it.

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The Hold Steady
Heaven is Whenever
This is difficult for us to say (and by "us" we really only mean Conklin), but Heaven is Whenever simply isn't that good a record. There are moments of greatness, of course, but now months since its release, it's even harder to ignore the fact that it's the sound of a band trying to figure out where to go next and, in the meantime, sounding a little bit lost.

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It is telling, we think, that in the months since this album was released, amidst all that talk of truffle fries and terrorism and whatever, we got really bad at typing its stupid title, which we'd actually gotten pretty good at for a while. But then the record came out and everyone realized that, in its attempt to convey the chaos of the digital age, it wound up being a sloppy batch of songs that offered little in the way of insight and even less in the way of memorable hooks.

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Of Montreal
False Priest
Kevin Barnes went full-on sleazy R&B with False Priest, and anyone who doesn't like it runs the risk of being called out as an indie rock nerd who's "uncomfortable" with sex, when in actuality they might just mean that the compositions are really thin and that the album's silliness is exposed by just how one-note it is.

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Thank Me Later
We didn't understand this dopey Torontonian's appeal last year, and since then he's dropped his million-selling debut, notched a Grammy nom for "Best New Artist" (even though he was on Degrassi, like, years ago!), and we still can't think of a more boring so-called entertainer.

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