Newcastle's Silver Fox translate their energetic live performances into a blast of pick-an-indie-genre-and-have-a-go heroism which counts roughly as many hits as misses.

Recording an album in a single day is the kind of foolhardy exercise that sounds brilliant on paper, for a particular kind of artist, but can tend to result in flabby, unconvincing results. Silver Fox clearly live and die by their own self confidence, describing their philosophy as a 'response, if-it-feels-good-do-it approach'. Occasionally, their eponymous debut manages to live up to that mantra, delivering punchy indie pop that is not too dissimilar to a more fluffy Swell Maps, or Love Is All.

The shorter tracks are the most pleasing. 'Bed Bed Bed' is sadly not a They Might Be Giants cover, but an almost perfect balance of subject and form. At just over one and a half minutes long, it's a satisfying blast. 'Horn of Plenty' has a similarly raucous feel, like the first Clinic EPs, and shows a promising stripping back of all extraneous detail.

The longer, more considered tracks can tend to drag. 'Hearts Made Here' kicks off like an all-girl reimagining of Joy Division, but fails to build into anything salutary. 'Arosa' is indie pop with shades of Stealing Sheep, but lacking the tautness and eccentricity of either. 'Force of Habit' (great song titles abound, by the way) is a muddy, psych template which it must have been tempting to design a full album around, as a lot of current psych bands are doing, but there is a distinct lack of adventure to the production by Andrew Hodson of Warm Digits.

So we return to the one day recording session. 24 hours may be long enough for George Martin to capture Please Please Me; thousands of live shows tend to mould a band into a razor-sharp implement, ready to be unleashed in a single, extended scream of raw talent. Gone are the days of matinee, followed by après-lunch, followed by pre-dinner, followed by main evening and midnight performance schedules. Bands don't rock up at the Tunbridge Wells Forum expecting to play six gigs in six hours, to six different crowds.

By all means, impose parameters. But even Jack White normally gives it a couple of weeks. I can see no discernible benefit (other than financial) for restricting yourself to... well, let's consider it. Even if you're recording live takes every minute of every hour of a day's work, and say the studio is open from 7-7 (which it almost certainly isn't), you've got 12 hours to get down 12 tracks. So you spend a year writing, rewriting and honing your debut album, the first comprehensive statement of intent, and you allow yourself one long bar shift of a recording session to actually document it.

Infuriatingly, there are moments of real beauty here, which could have formed the spine of a stronger debut. 'Waves On In' is the only track that doesn't feel loose, and displays a tenderness and a knack for a haunting melody that Low would be proud of. 'Do One' and 'Capital Kiss' even go a bit riot-grrrly, but the later short tracks can tend to let the head of steam built up dissipate. With a little focus, and a lot of discipline, Silver Fox could yet produce something magical. They just haven't quite yet.