Audioxide

The shift away from skeletal guitars is welcome, but Baker’s strength does not lie in expansive arrangements. The songs sound like they’ve been developed for arenas, which is a strange paradox.

Pulp nail the pop/rock formula to near perfection. The themes aren’t necessarily cheerful, yet the album sounds like a celebration from beginning to end.

Hushed, husky Turner monologues drift over sophisticated arrangements with retro sheens. The album basks in the seedy buzz of a make-believe underworld.

There is a remarkable confidence to the record that you wouldn’t usually expect from a debut, which is a testament to Costello’s immense musical capabilities.

This is pop music for the mature listener; easy to consume, enjoyable enough, but flimsy and a little watered down compared to Cocker's work with Pulp.

While there’s little wrong with any of the cuts, the album in its entirety can feel a little half-baked. An extra push could have made this Williams' defining work.