Salad Boys make their home in the comfortable, well-worn groove between Sebadoh, Teenage Fanclub and the Stone Roses ('Exaltation' is a Squire / Brown composition in all but name). The jingly-jangly guitar - heavily dependent on elated open G riffing - coupled with mid-tempo, average joe structures and faded vocals hover nostalgically above that mid-90s, mid-Atlantic indie zone. The vocal swings blithely from Elliot Smith to Jason Loewenstein. Nothing wrong with that.

I was a little worried when I spotted track names like 'Sceneic Route to Nowhere' (sic) and 'Going Down Slow', but I needn't have been. Those two tracks are actually the most satisfying in amongst a collection of largely unremarkable, but appealing indie. In the way of highlights, the aforementioned 'Sceneic Route to Nowhere' belies its Spinal Tap-esque title to deliver something a little spiky in amongst the beige. 'Going Down Slow' goes full Elliot Smith with pealing violins and a depressive chord sequence.

The latter especially is a pointer towards what could have been a much more exciting album. Other than it's punchy opener, there's a distinct lull at the heart of This is Glue. As it reaches its conclusion, the band fitfully begin to build a head of steam – too late to salvage something really great. Making a success out of indie pop like this takes a stroke of genius. Teenage Fanclub have it. Sebadoh have it. Salad Boys sometimes reach it. But without the shock of the new to propel the listener, it can become a trudge.

Finding anything original to say about Salad Boys is difficult. This isn't earth-shaking indie. The production is tidy but one note, the instrumentation resolutely professional. The vocalist has a few touchstones and reverently shifts from one to another without exactly lighting any fires of his own. Back in 1992 they would call this alternative rock. These days, even the undying term 'rock' feels a bit pat. Salad Boys are reaching towards something satisfying, but they haven’t quite made it yet.