Although David Bowie was recently blamed for the UK’s current economic turmoil and subsequent recession via his ‘Bowie Bonds’ in the mid nineties, the Thin White Juke made a much bolder prediction in 2002. Speaking to The New York Times, Bowie stated that ‘music itself is going to become like running water or electricity’.

It’s as though the genre-defying hit machine had received a tip-off from Nostradamus as a surge of listless bands came to the fore, all vying for a piece of the social networking generation. Rattling guitars and rudimentary verse just don’t cut it anymore - a band needs to delve further to separate themselves from the advancing pack.

Step forward once again Pure Reason Revolution - a quartet returning to the fray that refuses to be thrust under any damning music label. The way they approach their craft is intriguing enough, but Amor Vincit Omnia smacks of a band trying too hard to impress its audience. Keep Me Sane/Insane is a prime example of this labouring process; split into three parts, it’s a messy progressive rock affair - taking its cues from Evananscene and loaded with textural harmonies that are crammed into the mix just for the sake of it.

The hybrid of influences grates throughout - Deus Ex Machina sounds like a ghastly mash-up between Pendulum and, yet again, Evananscene - a plodding slice of angst rock that sounds forced and hollow. There is one saving grace; the sleek Les Malheurs - a chugging, electronic hook skilfully lifted from the Depeche Mode songbook. Sadly, the rest of the album struggles as PRR thrash their way through numerous genres - the abysmal robo-pop of Disconnect has to be an early contender for the worst track of the year. Pure Reason Revolution clearly have an abundance of musical talent at their dispense - it’s just a shame they waste it on pretentious soundscapes rather than anything containing a little heart or soul.