Formed from the ashes of Cajun Dance Party and having made it onto the BBC's Sound Of 2011 list it's fair to say that Yuck have been on the receiving end of a high share of media hype. It may be a blessing in disguise that this hype hasn't quite reached the heady heights of fellow listees The Vaccines and Yuck have managed to plug away to growing (mostly celeb-free)audiences without the looming fear of instant backlash. I say this because here, Yuck have produced an above average yet not exceptional album, and such a low-key beginning could also be the end for a victim of the dreaded mega-hype. Most early press reaction to Yuck was that the band were going to re-introduce Grunge to the indie-scene, so whilst the opening track on their debut pays some debt to acts like Smashing Pumpkins and early Feeder it's a welcome thought that this band aren't going to kick off an explosion of Pearl Jam and Alice In Chains sound-a-likes. The album is generally more akin to Sonic Youth and My Bloody Valentine playing pop singles and notable high points include the surf-punk fuzz of "Holing Out" and the uber-distorted love song, "Georgia". Unfortunately, for all the peaks on this record there is an equal share of tunes which don't really hit the mark; "Shook Down", "Sunday" and "Rose Gives A Lily" stick to the alt-rock rule book for sure but there's nothing special going on here. When things slow down occasionally the results are often great though, a particular example of these being the weirdly Badly Drawn Boy-like duo of "Suicide Policeman" and "Suck" which, realistically, don't really fit on the album but gladly they make the cut. In the mid-90s Noel Gallagher famously cited the American alt-rock and grunge scene as the catalyst for Oasis' no-nonsense rise to glory ("I can't have people like that coming over here, on smack, saying that they hate themselves and they wanna die. That's just rubbish."). And whilst Mr Gallagher may not relish a rebirth of such a scene (especially by a band which are surprisingly British) you have to feel that there is currently room for this music in a world of half-arsed New Wave, Brit-pop revivalists and 80's soft pop (insert your own favorite examples of each). Oddly enough the album finishes with a 7 minute epic which is on par with some of Oasis' early moments of greatness, it's like a Columbia with obscured vocals and 100x feedback which at the very least leaves us on a high note.