While studying at New York University’s Tisch school of the arts, whose alumni include Lady Gaga and Childish Gambino, Maryland songwriter Maggie Rogers performed her song Alaska for her class’s mentor, Pharrell Williams. His intense reaction sent the clip, and the song, viral. Rogers’s wildly accelerated career since has been about riding and directing that initial rocket-boost, with disproportionate acclaim greeting her debut EP of electronic pop. Her Greg Kurstin-produced debut album, despite Pharrell’s tears over her “singular” style, in truth sounds all too familiar.

The dominant mood is plaintive, emotive, chilled alternative R&B of the sort popularised by London Grammar and their ilk, with a strong leaning towards the yearning synthpop of her friends Muna on Light On and Retrograde. The best songs – Give a Little, Say It, On + Off, lean harder into the hip-hop grooves, Rogers’s strong and soulful voice gaining a bit of grit. Overnight and The Knife, however, fall into melodic predictability, Fallingwater drowns a more interesting structure in ersatz gospel and Past Life, the overportentous, dragged-out ballad at the album’s heart, reminds you that viral doesn’t always mean catchy.