Not offensive and not special either, Married to the Eiffel Tower, the new album by The Wolfmen, suffers from a certain “pub band”-ishness; a kind of faux-coolness. These boys aren't, after all, down 'n' dirty sleazers in the style of Guns 'n' Roses, even if you get the feeling that they might like to be.

The first track, 'Cat Green Eyes', signals that from the off. Interesting enough musically, it's killed by the deep and drawling, overly affected vocal tone of Marco Pirroni, The Wolfmen's singer; the accompanying instruments, which are a little bit like An Ocean Colour Scene song (in a good way), bring that affectation to a point of silliness. But it's not that a bad song. Unfortunately, though, the jarring of decent musical arrangements and slightly annoying vocals causes problems on more occasions: 'The Cowboy', appearing much later on the album, takes a cue from the lo-fi world of garage rock, and its understated, dirty and tinny guitar is one of the album's highlights. It strikes the chord of sleaziness – but again the voice ruins it.

That said, 'Mr Sunday', on which an urgent arrangement arouses the sensation of a track running away from itself, is a good song with a catchy chorus, and Pirroni's style far better suits it. In fact – and maybe in meaning to be complimentary this will be derogatory – it sounds a little bit like the step-sibling of a Gomez track. So too does 'I'm Not a Young Man Anymore', although it could also function as a less cheesy version of a 3 Doors Down track; the chorus is cheap, shifting through chords in a way that hopes to satisfy quickly, but doesn't survive repeated listens.

Married to the Eiffel Tower does have moments of quality. 'Jackie, Is It My Birthday?', which sees Sinéad O'Connor come in to help, focuses on a nice reversed melody, a jittering, stunted drum. Again, it can get a little over the top at times, but it's a good track. The same goes for 'Blushing God', the final piece on the album, which is based on a kind of drone beat and makes use of a psychedelic and ethereal deployment of discordant sounds; a style that's very welcome in the context of the rest of the album.

It's possibly the best track, and unfortunately the last we hear before the album falls silent. Still, 'Wam Bam JFK', like 'Jackie is it My Birthday?', begins with an interesting idea: this time a jittering synth. Once the song kicks in, it's backed by an acoustic guitar and a far more restrained vocal line. It's in the minor key; it feels a bit like the token ballad. It marks a welcome change, too.

In short, Married to the Eiffel Tower is a mixed album, made good in places by pleasant musical arrangements and made annoying in others by a vocal style that's hard to warm to.