Three years on from their debut album, Gum supply a mini-album that should serve as a reminder of their obvious qualities and perhaps open a few doors for them. The majority of the music is light but funky and slightly atmospheric, built ostensibly to allow vocalist Leigh Myles’ vocals to flow easily over the top. The vocals range from cooing whisper to chorus-holding power and rarely dip in quality throughout. The consistency and delivery would not be out of place on the radio and is undoubtedly the act’s main selling point. The remix of ‘Asleep at the wheel’ ups the tempo and is reminiscent of Dot Allison’s ‘We are Science’ album; it gives the record a good centre point. Short enough to warrant a few repeated plays, the mention of ‘feeble’ in the album title can’t be regarded as referring to the songs. No sticky second record syndrome for Gum.

Gum have been drifting around the Scottish musical ether for a few years now, and in that time they've been compared to the likes of Morcheeba, Zero 7 and even Dido. The common denominator between these acts? Well, a vaguely ethereal sound and female vocals that send a shimmer down your spine - in this case the voice of Leigh Myles, which could both melt a heart of stone and get the juices flowing in a deadman. As time has gone by, Gum's music seems to have become more structured as a platform for Myles' voice. It's not that the musical accompaniment is lacking or in any way bland, but their arrangements now are slicker and the instruments aren't all fighting for centre stage as has sometimes been the case in the past. All of the songs on display here effectively showcase the different faces of the band. Opening track Time Going By is chirpy and vivacious, led by a funky bassline, while Cross Your Heart & Hope To Die and Falling Through The Cracks are a bit rockier, well, relatively speaking anyway. Meanwhile, album closer Low Flying Kites is a dreamy soundscape in the One Dove mould. There are a couple of older tracks given a makeover, most notably a remix of Asleep At The Wheel, which is still probably the band's finest hour. Throughout, songwriter Ray Weir has finely crafted the sound to be textured and slinky, yet snugly wrapped around the centrepiece of Leigh's vocal. Gum have always known how to write a song, but there's no doubt that this is another major step forward.

Leigh's deep, meaningful vocals, the compelling melodies and rich arrangements make this a great listen. One of those albums you can hear over and over again and enjoy more each time. Congratulations. Why hasn't anyone noticed them? When that happens, please make it a condition that you always have final say on the what and how of the music. Looking out for the video, come on Ray, make full use of ALL your assets bud.

I’d recommend that you buy this album if you love honest music with considered lyrics. If you like it fresh, well-produced and accessible, then Gum are for you. The first track -‘Time going by’- seems to reference a theme that develops as the album progresses. It’s a bright and catchy opener, with Leigh’s multilayered vocals settling comfortably over the rhythmic chord progression. ‘Beyond the Horizon’ sees the mood darkening a little from the opener’s clear blue sky. Leigh sings of broken promises and years going by, building to the kind of typically uplifting chorus that Gum fans will feel at home with. ‘Cross your heart, hope to die’ is the stand-out track on the album, a grabber from first listen, quickly turning into a repeat-listener. More tales of broken promises pepper the lyrics, the phrase ‘break through this permafrost of feeble alibis’ is a cracker and the album’s best word picture. Musically this is Gum at their best. It’s a pop song with a real heart; it’s worth buying the album for this track alone. ‘Low-flying Kites’ is lyrically the best song on the album … with dreamy but purposeful melodies, it paints pictures of hilly inner-city parks on hot, windless summer afternoons. It has ‘Gum’ stamped all over it without sounding like anything on the debut album. Great songwriting.