For her fourth studio album – The Architect – English singer Paloma Faith has gone in a decidedly political route. The album tackles issues such as toxic masculinity, refugees, and the environment – a departure from the main themes of love and relationships which characterised her previous albums.

The Architect also marks a stylistic departure for Faith. Her first three records comprised retro soul-pop melodies with lavish, theatrical arrangements. Sadly, The Architect drifts from Faith’s vintage stylings and opts for a more dance-pop and mainstream orientation. The result is a collection of flimsy and synthetic throwaways (‘Power To The Peaceful’, ‘Kings And Queens’, ‘My Body’). The album is also weakened by needless extravagance. While Faith has always been ostentatious, The Architect is filled with so much contrived bombast it becomes overbearing. Certain songs begin promisingly but they descend into beige, overproduced choruses (‘Warriors’, ‘Still Around’). Moreover, the political evangelising woven throughout is nauseating at times. Sampling Owen Jones is never a wise musical decision.

There are still a couple of download worthy tracks on the album. ‘Price of Fame’ feels the most consistent with Faith’s previous offerings. The Dusty Springfield-esque ditty gives Faith’s take on the pitfalls of fame with a foreboding lyric. ‘Guilty’ showcases the low timbre of Faith’s vocals with a sensationalist lyric of ‘turning sweet love into poison’ that matches the heavy production. ‘I’ll Be Gentle’, a duet with John Legend, is schmaltzy but well-sung. Faith’s voice, with its fragmented phrasing and stylised inflections, is still compelling – even if the material is not up to scratch.

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The Architect smacks of a singer who has lost her niche.

Grade: C

(Image copyright: Epic Records, RCA Records, Sony Music Entertainment)