It’s almost as if the record has been pieced together from three parts: first, a series of demos (which may indeed fit with the record having begun its life during the singer’s series of low-key fan-booked gigs throughout 2020); second, a handful of tracks that posit Elias as a scratchy, troubadour Mick Jagger (a look which suits him completely, pun intended); and third, a pair of gorgeously-recorded and perfectly delivered cover versions (Spacemen 3’s ‘Walking With Jesus’, retitled ‘Sound of Confusion’, and Townes van Zandt’s ‘No Place To Fall’). Unfortunately, these follow a series of tracks on which Elias tries on others’ identities a little too obviously.

The beauty lies in the flaws, the imperfections, and A Long Way To Fall is way too immersed in picture perfect punctiliousness for this to make any lasting impression.

Ultimately, ‘Ripped And Torn’ is a little disappointing - its sounds are solid, refined and rehearsed, but feel relatively misguided, with the band seemingly unable to determine exactly where they’re going.

As a whole, it feels slightly temporary and detached, largely thanks to its uneven pacing and experimental streak.

Javelin's sense of ambition is certainly commendable, and despite its shortcomings, Hi Beams still provides some examples of dizzyingly odd pop.

A puzzling, and largely forgettable collection.

The reality though is that your ability to get on board with this record will depend more or less entirely on how you feel about its lyrical content.

Orangefarben has very little distinctly objectionable or sinister about it. There is still the impression that something is lying dormant under the initial cheerfulness, but for those craving true, raw darkess, Baenziger's demons might not rear their heads quite enough.

'Weapons' has no shortage of big choruses, slick production and crunching riffs but is let down by tired lyrics and too many forgettable songs.

Full of campy affectation presented with a shiny flourish, 'Do Things' is not fundamentally a bad album, but the constant happy-go-lucky nonsense, along with the un-imaginative songwriting, just seems a little contrived.

‘Into The Blue’ largely finds itself coasting on one level. The standouts are the songs that break out of the formula.

Where other works were distinctive and refined, These Spirits feels confused and clunky.

For the most part, it’s instead a case of either too much, or not enough. By stripping the layers back and presenting the songs in a wholly straightforward manner - slick, with Julie’s voice centered as if she’s embarking on a perfect three-minute pop song - flaws appear where they shouldn’t exist.

There are a couple of sweet spots on ‘Ice Melt’ in the form of the shimmering ‘Balloon’ and the creamy ending title-track, but not enough to warrant a whole album’s worth of material from what could have easily been shaved down to an EP.

A couple of times they get some wind in their sails, namely ‘War Dance’ and ‘Turned to String’, but the overall feeling from this is that No Age are, ironically, starting to show their years.

We’re left with a contrast that never quite works. Instead, it’s where the concept is applied metaphorically that ‘Van Weezer’ finds some green shoots.

This is a record which will no doubt appeal to long-term fans of the band as it revels in the same sonic territory as their previous output, and it works as a party-starting soundtrack with its simple lyrics and vitality, but there's a distinct lack of any real depth or enterprise.

The supergroup’s self-titled record might feature the dirty rock of the former and the latter’s penchant for synth-led tangents, but by each party’s style rubbing off on the other, they’ve also sanded them down.

Musically confused, frequently lyrically painful (closer ‘Erotic Letter’ needs to be heard to be believed), its ego is so overpowering it ends up as a sweet relief against a backdrop of po-faced, fence sitting peers.

For those open to more electronic sounds, this will likely be a great release and to those who are dubious of change, the band have accounted for that with a handful of numbers that more or less embody their established sound.

‘It Won’t Always Be Like This’ is inexplicably reanimating the era’s penchant for plodding, drive-time indie-rock.

Uninspiring, unexciting, largely forgettable--this is nothing more than Kings of Leon by numbers.

This is an album that sounds like it could've been recorded at any point in the last thirty-odd years.

'Look To The Sky' sees him returning to the spotlight with an album that only fleetingly hints at his past glories.

But like a fine pastiche, the presented elements are enjoyable, but there's a detached lack of soul and ardor.

Fans will hear echoes of his best work, but for most this is a stale, uninspired outing for the legendary figure.

If not already a fan, what would one get out of ‘The Demise of Planet X’ that doesn’t already feature in their back catalogue, beside a few more timely references? Much like the state of the country they wax lyrical about, Sleaford Mods are stuck in a rut.

Theatrical, over-blown, and just a little contrived, any promise of real substance sadly seems to fade after the first four tracks, and never quite returns.