The Ruben’s fourth album 0202, intended as a reflection of the twist and turns of the year of the catastrophic yo-yo, does truly little to reflect 2020 musically, thematically, or otherwise. Instead, it’s just so painfully bland as balls.

The Rubens may believe they were being “forward-thinking” with this release – utilising the same alt-rock, hip hop and R‘n’B hybrid they established in 2018’s LO LA RU – but they are in fact, stuck in the mud. 

Perhaps, though, being stuck is intentional, indicative of the standstill events of last year. If that’s the case, thematically it’s a clever concept. Sonically though, 0202 drudges along, uneventful and uninspiring. 

In the interest of being diplomatic, however, there are some points of interest here, but they are few and far between. Opener Masterpiece cuts with a seemingly effortless vocal melody delivered by Sam Margin – a striking and syrupy tone. He provides a promise of audible excellence and variation that never arrives, only teases.

Tracks like Explosions dabble with textural variances, the static penetration making for a bright respite, while Muddy Evil Pain – though it retains the slogs of the first half of the album – surprises with yet more smatterings of stylistic alternatives. And then you have Holiday, which must be the true embodiment of The Rubens' intention with this release – it’s a bit daft, but clever, sticking out as one of 0202’s most unanticipated, fun attempts.

As their fourth studio effort goes, The Rubens have done just that – made an effort. Given the adverse circumstances under which 0202 was created, it’s resulted in only a handful of intriguing elements built upon an otherwise cyclic stencil.