Oh dear, I did so much want to like this record. Aylesbury’s Shaker Heights have a whole lot going for them: some superb country-influenced rock songs, the capability to perform storming live sets, and several years experience that should have honed their tunes ready for definitive recording. So why is the album so unsatisfactory?

Part of the answer is familiarity breeding contempt: I first heard ‘Pigment in the Rally’, their signature tune, several years ago and loved it (the review of their first demo is elsewhere on this site), but the new recording doesn’t improve on the original. Vincent Coole’s singing, which I was never that keen on, appears to have deteriorated in recent years and is nigh-on unlistenable on this track and others. The rhythm section hasn’t tightened up much either and the drumming in particular is finicky and insecure. Add to this an over-echoey, muddy recording quality and you have a deeply disappointing experience.

None of the older songs come out of the process that well. ‘Waiting on Me’ should be solid pub-rock fare but because of the nervousness of the drumming it isn’t even that and Coole’s singing is pissed-bloke-at-Karaoke level. ‘Guillotine’ is another song which hasn’t kicked on from the demo, but at least it highlights Coole’s lovely, twanging Telecaster playing.

However, things pick up a good deal when one considers the new songs. ‘All About White Out’ may not make much sense lyric-wise, but it’s an enjoyable singalong, and its punky, scrappy feel sits better with Coole’s unrefined singing style. ‘Magna Doors’ is a would-be epic, piano-based ballad that has some excellent ideas badly executed. For example, Emily Coole’s piano intro is reasonably well-played but she sounds like she’s playing on some duff tin-pot synth piano, and this represents in my mind the band’s mixed-up priorities. They have spent a good deal on packaging and cover art (including a full-monty lyric sheet), but that money would have been better spent renting a studio with a decent piano in it and getting something really good down on tape. As it stands, that cost-cutting renders the whole tune demo-level. Vincent’s normally excellent lead-playing also goes awry on this song, with some inept out-of-key blues-guitarwork over the middle section. As Allan Green would say, ‘Dear oh Dear, what was he thinking?’

Less ambitious, but more successful is ‘We Are Old, Baby’, which has a strong, druggy chorus and a cheerful acoustic vibe. The backup vocals are a welcome addition, providing solidity at the band’s weakest point, but I’m not sure about the curious flute interjections that seem beyond melody and key. This may be a good thing.

Right, so one of my favourite Oxford bands have released something heart-breakingly underwhelming. I am royally brassed off. But I’ve seen what they can do on stage and I believe in the songwriting and the musicianship. Maybe they should get a singer. Whatever, folks. Get it right next time.