certainly isn't 's finest hour due to a number of uncharacteristically weak tracks, but it's interesting enough in spurts, thanks to 's eclectic nature. More than anything, the album works as an uneven middle ground between the crisp lo-fi electronics of and the moody of . Perhaps here more than on his previous albums, the strong songs are forced to carry the weight of some lesser efforts. But the standout tracks are quite good: the invigorating and thoroughly catchy shows an obvious Bahamian influence with its steel drums and unusual syncopation; a clear sequel to is just as catchy and fun; and mine territory, and both are fitted with addictive vocal passages. stumbles somewhat as producer, too often offering up cheesy synth horns and failing to end songs in a satisfying way. Too many of the songs simply stop on a dime, and others fade out randomly, giving the impression they've been edited for the airwaves or that they're demos. Unlike most albums, features some true stinkers: struggles awkwardly to be sexy; makes no sense with its film score lite effects and singing in Urdu. Elsewhere, songs straddle brilliance and mediocrity. An example is the cover, which fails despite 's wonderfully droll delivery, because it's desperately underproduced and lacking punch. is a near-classic, with a great off-kilter chorus, but somehow the song meanders into second-rate status. is essential only for fanatics. Others can stick to the genius of , an album that covers nearly all the bases of and trumps it resoundingly. [ was remastered and re-released in 2012.] ~ Tim DiGravina