Ill-advised collaborations and uncharacteristic subject matter mar proceedings, particularly the record’s dragging second half.

The material lacks the gauzy groove of Gotham!, replaced by techno-savvy beats and a synthetic sheen so soulless it C3PO’s all of the group’s human swagger.

Outta Sight/Outta Mind is not an album that you can discuss in measured tones whilst tending to your beard. It is an album that will only cause mass hysteria and blood clots and burst forth Kundalini from the base of your spine like some auto-massage chair plugged into the wrong transformer while you holler “wheeeeaaauurgh!!” and finally slump down into a wet pile of exhaustion.

Pullhair Rubeye isn’t awful, but it could’ve been great.

His music has lost a large degree of the vitality that it once held.

“Wires” does grow in stature with familiarity through radio exposure, and “Trading Air” could easily have the same kind of airplay success, but I can’t understand the mindset of anyone who’d want to play them over and over again when so many other, more exciting and intriguing things exist.

Mos Def sounds positively lifeless and distant.

Serving as nothing more than a temporary diversion or side note to his fully realised work, this is worth a cursory listen for the insight alone.

The Weirdness comes off as another solid yet daffy Iggy Pop solo album. The performances are energetic, but Watt is a virtual non-factor.

This is nearly half of a really good follow up to their debut, but that first sequence of tracks is so lackluster, so full of swagger and bile meaning nothing, that fans may not get to the good stuff.

This is a very good record. I personally dare the “ASHLEE SUX” folks reading this to give it a reasonably objective spin.