Allah-Las are pretty much all ex-Amoeba records employees, who had access to a vast collection of music. This fuelled a love of old 60s vinyl and Nuggets era tunes: "We wanted to make the kind of music we weren't hearing being made by contemporary bands, free of digital effects and synthesised sounds, groovy and danceable in a way that wasn't aggressive."

Without any backstory at all, and I'll grant you there's not a lot here, from the moment 'Catamaran' comes on like a cat swanking down a hallway swishing its tail, it's pretty obvious we are dealing with a band that are fans of a certain era. Things are kept simple, with basic instrumentation (guitars, bass, drums and some Hammond organ) and there's not much time or need for augmentation beyond that.

All the right elements get a nod: the prominent bass, the jangle of the guitars, the gnomic lyrics ("I've been living so long by myself, I can't make a living with anyone else") and the harmonies. We could so easily be in the late 60s, early 70s, and yet there's just a little too much reproduction here to distinguish it from anything else. It's all lovingly crafted, but just a little too faithful to the template.

For all the nods and the retro-merchant-ness of it all, there are some modern influences on display. 'Don't You Forget It' has something of Darklands-era JAMC or Sonic Flower Groove by Primal Scream about it, although you could argue that's a fairly retro nod in itself. Oh it's all so meta. Still, they steer their way nicely through the song with lyrics like "I think I've found a girl that I can talk to, yeah I think I've found a girl that just might replace you."

It all chugs along nicely, but never really displays any sense of real urgency. It could do with the band upping the ante on some occasions. 'Busman's Holiday' finds them singing "Spent two years of my life in a foreign land, came home to my young wife as a different man" over a typical chime and strum, the ride cymbal getting a constant tippety-tap. Now this could be about someone that went off to find themselves on a gap year or two, or it's a man in the year 2012 writing about going to Vietnam (and again the former option may apply), and to war. And this is the thing that grates about this, its all a bit anachronistic, and too in thrall to the era.

It's only when the band try their hand at instrumentals that things come to life a bit more. 'Sacred Sands' is like some sort of Shadows tribute (in a good way). I doubt the band will ever wear the matching suits and make use of the cross-footed dance of Hank and the boys, but there's always time. The other instrumental and highlight of the album, for me, is 'Ela Navega'.

It's got all the hallmarks of a Herb Alpert record minus the brass, and a 'Girl from Ipanema' guitar line. There is absolutely nothing original about this record, but it doesn't matter. Sometimes the wheel doesn't need reinventing; round works so why piss about with it? They do a mean line in instrumentals, apologies to the singer here, but when he takes a rest I enjoyed this album a lot more.

The rest of the album sort of ambles by; you get the feeling that they genuinely love this music, and who wouldn't? So much of that stuff is amazing, but I feel listening to it that we should remember that The Rolling Stones made albums after Between The Buttons, and they were good.

There is nothing intrinsically bad about this album; the songs are all fine examples of the era, and faithful to that template. It's just an electric jug short of being an Elevators tribute. I sincerely hope that it does well though, as I want to know what this group can do given a chance to make more records. If they can break free of the gravity they provide, I think we can expect good things.