Breach

1	Letters from the Wasteland 4:29
2	Hand Me Down 3:35
3	Sleepwalker 3:31
4	I've Been Delivered 5:01
5	Witness 3:34
6	Some Flowers Bloom Dead 4:43
7	Mourning Train 4:04
8	Up from Under 3:38
9	Murder 101 2:31
10	Birdcage 7:42

Barnes & Noble

Jakob Dylan clearly believes that patience is a virtue, having released just three albums in the nine-year existence of the Wallflowers -- and judging by the simultaneously gripping and craftsman-like tone of this outing, it's hard to argue with his position. Breach builds on the trad-rock success of the band's 1996 effort, Bringing Down the Horse by managing to sound earthy without taking on a retro patina. The presence of producer (and occasional guitarist) Michael Penn probably has something to do with that, but Dylan deserves a pat on the back for displaying the maturity embodied in the sweetly sweeping "Birdcage" and the spiritual-tinged "Mourning Train." Like its predecessor, Breach is flavored here and there with bile and bitterness, most notably on the steely "Some Flowers Are Born Dead" and the hammer-down "Letters from the Wasteland," but the textured melodies seldom allow those flavors to overwhelm. Dylan Pater still looms large over these songs, not so much as an influence -- something Jakob has done his best to avoid -- but as a bête noire of sorts, a windmill to tilt at on songs such as the self-revelatory "Hand Me Down." But even with the abundant darkness in its grooves, Breach conveys a mood that's warm and sanguine, if not totally optimistic. Yes, it's complex, even difficult, but aren't most of life's rewarding experiences? David Sprague

All Music Guide

When Jakob Dylan first debuted with the Wallflowers, nobody expected that he would ever escape the shadow of his famous father, and those doubts hung heavily above the band until their second album, Bringing Down the Horse, became an unexpected multi-platinum smash. In light of that success, Dylan became his own man, no longer seen as only Bob's kid. That freedom is evident on the Wallflowers' superb third album, Breach. At the time of its fall 2000 release, there was a lot of attention paid to Jakob finally writing about Bob, a subject he steadfastly ignored before, and it is true that several songs do clearly acknowledge his famous father. But that's not the most noteworthy thing about the album. What's remarkable about the album is that he is assured as a songwriter and bandleader. On the surface, there's not much different between this album and its predecessor, but the songs are stronger, sharper, and the performances are lean, muscular, and immediate. Andrew Slater and Michael Penn's clear, surprisingly varied production is a factor, but the credit goes to Jakob Dylan and the Wallflowers; the band has never sounded better and Dylan has never been as convincing as a writer or singer. The result is the finest straight-ahead rock album of 2000. Stephen Thomas Erlewine

Entertainment Weekly

Once mum about pop, Wallflower Jakob Dylan drops his guard on the fiercely intimate, finely tuned Breach. Mark Bautz