Where the distinctly Strokes-y melancholy of ‘Dead Air’, or the darker stalk of the Matt Helders-featuring ‘Thoughtful Distress’ succeed, others (‘Home Again’, ‘Old Man’) are throwaway jangles that feel like AHJ-by-numbers.

While not a record that’s likely to raise their star, Stuffed & Ready is one that shows a band resolutely ploughing their own furrow without compromise.

All in all, it’s a melodic, sprawling record to wig-out to; and one that means that Clear Shot hits the mark indeed.

At its best, Youngish American exists at the nexus of day-job classics ‘Giving Up the Gun’ and ‘Unbelievers’, offering glimpse of Chris’ massive potential to be an engaging solo star.

Fans of ‘Complete Surrender’’s sonic diversity, too, might find ‘Now That I’m a River’ similarly one-note to ‘One Day All of This Won’t Matter Any More’. It’s a better record, though, primarily because Charles sounds genuinely refreshed.

They've got some good ideas, but perhaps just aren't ready for a full-length release.

While in small increments ‘Sexorcism’ feels incredibly empowering and progressive, when you go 12 rounds on the trot, it fast becomes a law of diminishing returns, clumsy in its own damp puddle.

‘Hyacinth’ shows Spinning Coin are OK with dipping their toes in the water of something new, but will leave you wishing they would just jump in.

The main issue with this album is that it is not terrible and it is not brilliant. It is simply there.

The band have expanded their sound with mixed results.

Go Fly A Kite is a likeable album, but it sounds like Jet at its worst times and like an American alt-rock band past their sell by date at its best.

This is far from a bad album but it's also far from matching their best... 'This Machine' is both an attempt to recapture the glory days and a sad admission that it can't be done.

Any sense of experimentation and freedom is impossible to find. Are Dinosaur Jr trying too hard to be Dinosaur Jr? It's the way it seems.

When they strip things back and leave space for each element to breathe--as on the purely orchestral title track--Open Here can be a joy, a deeply astute pop album that’s also often brimming with fun. While pushing their boundaries as far as they can go though, it sometimes makes for a record that can feel frustratingly cluttered.

The LA quintet’s third album doesn’t quite explode as much as it hopes to, though a few songs threaten to, largely the acid-tongued, grinding ‘Roadkill’ and the vintage-sounding title track.

They’re never going to reinvent the wheel, and there are a few moments (halfway mark ‘Missing You’ springs to mind) that feel a little too much. But there is something intensely satisfying in their sugary hooks and their handle on catchy, unadulterated melodies.

The rich swells of optimism that characterised earlier cuts such as ‘Skipping Stones’ or ‘Lost Dreamers’ have been replaced with a yearning melancholy.

Full of lilting indie-pop, often swelling with trumpets, string sections and a sense of wistfulness, European Heartbreak sounds nostalgic for a dream, the realisation of which has long since passed.

What it lacks perhaps in originality, it certainly more than delivers in getting, keeping and rewarding the listener's attention.

Without the literary cues being on show, there’s somewhat of a jarring effect as the record staggers between styles; the menacing high-pitched note that pierces the rumbling bass of ‘Holy Bones’ hints at danger, but comes met with an underwhelming chorus.

For a record titled ‘Messy’ it could ironically do with being a little less neat and tidy.

It’s a largely hit-and-miss pop record.

As every track twists and turns, building upon their previous musical accomplishments, this feels like a band who have finally truly found their stride.

His perfectly serviceable croon is not quite strong enough to carry it across 16 long tracks. If only he’d given ‘Lightning People’ to Liam Gallagher, it might well have been the soundtrack of the summer. Moments of greatness are plentiful, but ‘Fever Dreams…’ shines brightest when Marr lets his guitar do the talking.

Musically it's very much as you were, country-tinged alt-rock, a little punkier in places, a little less scared of making a racket.

Jam is all well and good, but this record is at times lacking in the bread and butter of music--songs.

2019 has a pleasing feel no doubt, there are some gems nestled in the 7-track run that are well worth a look, but it feels like a release that is there to keep the wheels turning ahead of a new album.

Blood, like ‘Woman’, is honest. It’s an endearing expression of sexuality.