The entire record is a disquieting trip.

Leans more toward conscious than commercial. [26 Nov 2005]

It comes across as unnecessarily tame.

Those looking for "Marquee Moon"-style guitar heroics will be disappointed.

The band seems oddly restrained and processed through much of the album's 12 numbers.

It's still hard to tell if he's a bluesman in a soft-rocker's body or vice versa, and "Continuum" is the sound of him trying to figure it out too.

Overall it's rather tough to get a grip on what they're getting at.

Outer South is a decently stocked serving of rambling, saloon-joint alt-country, but one that finds the freewheeling Oberst and band in need of a little focus.

"Word of Mouf" never quite meets the standard 'Cris set for himself with his debut.

The lack of big-name guests may make it hard to woo new fans, but those who preferred Paul's earlier work will be happy to hear he has returned home. [1 Oct 2005]

Taking no risks, "Nightcrawler" shows little growth and makes one wish for the morning after.

Snow Patrol suddenly sounds like a cross between Goo Goo Dolls and Train.

At its best, "Golden Pollen" is graceful, intricately planned and divinely produced.... On occasion though, the set can be downright boring. [23 Jun 2007]

'Social Development Dance' is an accurate representative of Back and Fourth as a whole--an introspective, guitar-driven effort that's worthy of praise, despite some minor missteps.

Sadly, the album is reminiscent of everything he has already done.

It often feels sluggish despite itself, and his lyrics show him riding against the same old Michigan wind with a voice that's grown haggard and curmudgeonly with time.

"Per Second..." finds Wheat in the midst of an identity crisis, attempting to balance largely superb songs with an exasperating presentation.

Mostly, this is by-the-numbers stuff.

Much of "Drukqs" sounds like two different albums competing and thus canceling each other out.... An ambitious but ultimately failed experiment.

The deafening dialectics often feel contrived, making Test Icicles sound like a fun "project," not a real band. [28 Jan 2006]

The set as a whole lacks variety and rarely shifts tempo. [24 Feb 2007]

The band tries to stretch but trips over its own convictions.

It doesn't all hit home, but at its best ("Heaven/ Where True Love Goes," "In the End," "Green Fields, Golden Sands"), this record is uplifting enough to satisfy even a 30-year thirst. [18 Nov 2006]

Touching Down is a fluid set that moves from track to track with little or no delineation. As a result, the album is, at times, redundant.

"Revolverlution" may be little more than a curious career capper, but at least the never risk-averse Public Enemy seems to understand that even failure can be your friend if it ultimately helps you move forward and stay fresh.

Although it doesn't always work as a whole, this adventurous collection echoes Jones' catalog thematically and musically...

Try as the trio might to inform its '80s pastiche with an extra degree of menace, the disc ends up sounding like the same old Trans Am: part Rush, part "Miami Vice" soundtrack and part pranksters just taking the piss.

Songs such as the Rodney Jerkins-produced "Make It Last Forever" and "Get Up"... are surefire club hits, although such ballads as "It's Over" tend to fall flat. [9 Dec 2006]