The Kooks: 'Konk'

So what is the most irritating thing about The Kooks? Is it the fact that these middle-class Brit School grads style themselves as rag-tag indie ruffians without a fiver to rub between them? Perhaps it's the way frontman Luke Pritchard insists on infecting his vocals with the sort of hiccups and hollers usually reserved for American R&B divas? Or could it be the fact that their association with Katie Melua didn't damage their credibility enough to stop their debut album, Inside In/Inside Out, finding its way into 1.5 million British homes? The actual answer is: 'None of the above'. The most teeth-grindingly painful thing about The Kooks is that behind their pretty boys looks and silly voices is a band that isn't half bad at knocking out sunny indie-pop choons.

While it felt churlish to question the band's integrity when they had songs as blissfully simple as 'Naïve' and 'She Moves In Her Own Way' up their sleeves, the backlash was always waiting for The Kooks as soon as they dared rest on their laurels. This, unfortunately, is where we find the band with Konk. Comeback single 'Always Where I Need To Be' was a warning shot, its "do-do-do-do" chorus and bustling guitars sounding like a pastiche of their debut rather then a statement of intent. The rest of the album follows suit, showcasing a succession of radio-friendly anthems that are so studiously designed to match the success of their earlier works that they regularly slip into uncomfortable parody.

Opener 'See The Sun' is a misleading treat that sees Hugh Harris perfecting his wonky guitar riffing while Pritchard's vocals jostle with a vibrant, punchy melody. Sadly, its energy fails to resurface over the next eleven tracks. 'Mr Maker' finds the group aiming for Kinks-esque jauntiness, but Pritchard's lyrics ("Mr Maker he'll be fine, it's alright, it's OK, because of the love he gave away") are bargain basement Britpop. 'Do You Wanna', with its cocky refrain of "I know you wanna make love to me", is devoid of the charm or humour needed to make it palatable, while the plodding stumble of 'Love It All' is an embarrassing excuse for a B-side. On 'Sway' and 'Shine On' - the record's centrepieces and most likely future singles - the band almost find their feet. 'Sway' is an impressively brooding, swelling anthem, while 'Shine', all lilting guitars and arm-swaying choruses, should find its way onto Radio 1's summer playlists for many years to come.

However, a couple of almost-good tunes isn't enough to salvage this hugely disappointing record. Lacking ambition and lyrical bite, the final trio of tracks, 'Down To The Market', 'One Last Time' and 'Tick of Time', sound like they were rushed out with a record exec looming at the back of the studio. That said, whatever the reasons for Konk's blooper-reel of indie gaffs, it's unlikely to stop their many fans from lapping it up in droves. Nevertheless, The Kooks should be warned that every boyband has a limited lifespan. When a better-looking set of lads comes along with shinier guitars and neater fringes, their lack of soul will come glaringly into view. Konk suggests that day isn't too far off.