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

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.

They claim to be writing about politics, death and sex on this record, but Songs For Our Mothers offers so little that’s actually new. There’s no light to shine, no tales to be told and no ground to be broken. Nothing to see here.

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 In some cases, that’s because it’s crashingly outdated.

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.

In Plain Sight is an overwhelmingly dour listen.

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.

‘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.

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