By trying to make them sound something they're not, the end effect falls far short.

The Tourist isn’t ‘the worst’, but it’s far from the journey its designer hopes it to be.

Enter Shikari have made their mark with a hybrid theory of conflicting ideas but, unsure where they sit between Rage Against The Machine and Radiohead, it lacks real conviction.

While diverse in places and interesting at its best, Albumin is disappointingly underpinned by the singular drone of fairly dull, generic rock.

If Japanther focused more on their punk rock sensibilities and honed in on their talent for hook-infested pop songs, rather than trying to clean up their act, then they’d be far better off for it.

With all the various guest vocals, Pick A Piper's multi-narrative structure is a little problematic.

In Plain Sight is an overwhelmingly dour listen.

Ultimately, These Walls Of Mine is too incoherent and disparate in style to merit any amount of satisfaction.

‘Hassan Chop’ is a welcome reprieve towards the end, introducing some of the relentless punk drive of the band at their best, but it does little to revive the rebellious ethos ‘Let The Bad Times Roll’ clearly strives for. Forged from our current volatile climate this may be; an appropriately cutting and volatile response, however, it certainly is not.

Odell may well sell a lot of records (though long term, he may not) but as far as art to engage and inspire goes, Long Way Down has precious little to recommend it.

This is boy band material dressed up in an indie band’s clothes.

Lyrically it is definitely awful.

It’s the quarantine passion project created after too many days of 4pm drinking. It’s the existential crisis on Week 12 of drifting, structure-less furlough. It’s the desperate clutch at nostalgia that finds you trawling through your old school friends on Facebook at 2am, sobbing for A Simpler Time.

Snapshot is more derivative than what is is supposed to be an alternative to.

Ultimately, it turns out The Darkness are at their worst when doing an impression of themselves, which is exactly what Last Of Our Kind is.

Let It Reign’s abrasiveness does little to deflect from its disappointing lack of ambition.

Accordingly, he’s lent the whole affair an electronic flavour that doesn’t really work. In some cases, that’s because it’s crashingly outdated.