When I was asked to review Sean Kingston’s new album I thought to myself, “Who?!” After a brief internet search I found myself looking at the man who released that huge, but incredibly annoying song Beautiful Girls, and unknowingly there was a part of me that hoped he was dead already. But nope, he is alive and kicking and Sean is back with us with his new album called Tomorrow, and instead I am thinking to myself, “Why do I put myself through these things?”

In recent interviews, Sean Kingston has come out with wonderful words of wisdom for the promotion of this album: “I feel like this album is 2009. The world is changing. Nobody wants to hear the same old stuff.” His insights on consumerism are truly amazing.

“I feel like my last album was yesterday, so this album is tomorrow. Like a lot of people in the world live today because we don’t know what tomorrow holds.” A tagline about human existence within the sphere of time and space that even Stephen Hawking would be proud of.

But clearly this is a load of bollocks when you listen to the album. The album is nothing more Kingston rehashing his previous success of Beautiful Girls, without the only part that was good about that song; the Ben E. King sample. There is no growth in the album, nearly every song sounds the exact same: lots and lots auto-tuner and songs about what seems to be unhealthy obsessions with women. Even the song that was repeatedly mentioned in promotion of being a ground-breaking cross over between Good Charlotte and Sean Kingston sounds exact same because the guitars sound they have been put through an auto-tuner too.

The only two songs on this album that sound anyway different from what we have come to expect from Kingston are War and promotional single, Fire Burning. These two songs however seem somewhat wasted on Kingston because his bland voice and inability to pass off these songs confidently leave what essentially could be great dance tunes hollow and completely underwhelming.

The production on the album is terrible too; the diversity of which Kingston talks about is left struggling because the producers overwhelm the album with auto-tuner. It is not just the manipulation of Kingston’s voice that grinds my gears, it is the same rhythm used in every song and the same bass used throughout. The producer’s inability to give Kingston a tone or beat to sing to that suits his voice is just shocking - you wonder why they bothered with this album.

Finally, the appearances on this album do nothing to change the monotonous tone of the album; Wycelf Jean’s part literally could have been any other rapper if Kingston could have possibly done a better job, Good Charlotte just allow their different sound to be put into the producer's hands, and Joel Madden’s forgettable voice becomes even more forgettable.

A terrible, terrible, irredeemably bad album; at best it’s an expensive coaster.

- Peter Downey