Serious though he may intend to be, through the combination of Williamson’s Mr. Angry rants and Andrew Fearn’s tinny keyboards, Sleaford Mods do have a tendency to sound like a bit of a novelty.

‘Under My Influence’ is a bold undertaking, but, at times, it feels unfinished. While many singles and supplementary songs showcase the band’s talent, much of the record weighs in as forgettable filler sounds that take some time in getting accustomed to.

Although the material demonstrates Vek’s undoubted talent, Luck can’t quite match our hopes--or, indeed, the quality of its predecessors.

What's frustrating is that it's too damn enjoyable and not quite derivative enough to actively hate.

The outer edges of this album are impressive, but why couldn’t they penetrate the main parts of these songs and this album more? Instead, they are eye-opening but ultimately useless ideas that must make way for the dry 808 beats we’re all too familiar with.

‘What Happened To The Streets?’ provides more questions than answers, and beneath the brash moments leaves you wondering about the rapper’s longevity.

It's a record which feels like a grower but never manages to click.

Other than final track ‘A Certain Spirit’, the clearest crossover of irked techno and David Byrne-d, samba deconstruction, the melting pot (remember those aforementioned ingredients) that has gestated for five years ends up being served cold as gazpacho.

The punchy ‘Drink N Dance’ utilises ominous 80s synths, while ‘This Sunday’ is potent, and atmospheric. ‘Gracious’ is carefully finessed, more evidence of the duo’s world-building techniques. That said, though, there’s a huge amount here that simply passes you by. ‘Always Be My Fault’ is meandering, lacking structure, while songs like ‘Luv Bad Bitches’ and ‘Mile High Memories’ lack substance.

While ‘Eternal Atake 2’ may be content to live in 2020, the rest of the rap world has moved on. Although far from terrible, ‘Eternal Atake 2’ seems to exhibit more signs of the Lil Uzi Vert tail-off – the quality control has dimmed, and the sense of direction exhibited on their early work has waned.

Whilst for the most part this jam-session approach results in captivating instrumentals and intriguing points of sonic experimentation, at times it can become rather muddled, confusing and drawn-out.

The mask of the brooding troubadour doesn’t quite fit: the LP is marred by below-par, uninspired vocals and rudimentary lyrics.

Most of the tracks’ narratives are undecipherable and consistently scatterbrained. Not to mention that the panoramic mixing of the guitars, while being a band trademark, make it difficult to focus on more than one aspect of a song at a time.

Even if the laid-back and relaxed atmospherics are endearing, there’s plenty of room to push the musical perimeters which the London duo fail to take advantage of.

It's nice to start off with but swiftly becoming a tad wet and ultimately a touch cloying.

While it does knock out some definite singalongs, sprinkling in some fun hooks and catchy structures, there is something missing beneath the veneer of theatricality. This is an album that hints at complexity, but it is inevitably overshadowed by Urie’s one-man-show.

This record sounds like every catchy guitar song you've ever heard.

With its sharply defined highs and curiously odd misses, there’s more than enough here for dedicated fans to sift through, to extrapolate new shades of Springsteen from. For the rest of us, though, there isn’t quite enough to hold our attention.

Lyrics like “I’ll stay young to be saved” (‘Be A Kid’) come across as self-indulgent and frontman Sam McTrusty’s reedy vocals get lost in menacing tracks like ‘I Am An Animal’.

There is more maturity this time around, with an easier flow, such that the songs gel better as an amalgam. It's a shame then that the songs themselves lack the commercial edge to capture any sustained attention, giving the album too much anonymity.

The only reasonable offering on 'How Does It Feel' is the multi-layered and kaleidoscopic lead single, 'Painted'. Elsewhere, it's the kind of standard by-the-numbers electro-pop that's likely to soundtrack your next visit to the local department store.

The moments of nu-disco are superb, yet are weighed down by the sometimes-cringey segments of auto-crooning.

An album that is often slight, and occasionally cartoonish. There’s a lingering feeling that not only can UK rap do a lot better, but so can Aitch.

‘ADL’ feels samey at times. .... A rich seam for fans to explore, but ultimately this is a widescreen blockbuster that is big on stunning vistas, and short on plot.

While elements of ‘Every Shade of Blue’ may struggle to cut through its over-ambitious production value, the album is bound to translate well on the big stage regardless.

Sadly, this lack of innovation seriously dampens those moments of electronic beauty.

Darlings is a concrete mixer full of ideas, although it’s tricky to pinpoint if Drew’s actually laid the foundations of a decent record.

Some moments are impressive, like the eight-minute epic of a title track ‘Take Me Back To Eden’, which sprawls and writhes between textures and knows just when to spotlight frontman Vessel’s holy outpourings. ... But the issue is, this opus comes over an hour into the album, and follows a number of lengthy tracks that seem to be trying to do the same thing, but less successfully.