Gum do exactly what they say on the tin. They play an indie pop that shifts easily between the jangly confidence of Dido and the studied cool of Dubstar, making a number of pit stops along the way. Opener ‘Asleep at the Wheel’ begins as they mean to go on: unhurried, self-assured, never afraid to choose the simple path when others would try to look cleverer. 
Leigh Miles' voice works best when she can relax into a track, sounding lazy and effortless the way Juliana Hatfield or Hope Sandoval do when they're at their best. They are confident enough not to overcrowd their songs - perhaps best seen on ‘Might be Around’ - letting them build slowly and keeping the aces up their sleeves until they need them. The bass frequently augments the vocals with clever lines that dance behind and balance the melody. Guitar and keyboards are careful to mould the tone of the songs while maintaining the space the vocals need to impress. In short: thoughtful, assured, promising, and very, very media savvy.
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We received a sampler cd and we were hooked; then we received the full album, now we're in love. We feel that we are amongst the lucky ones. If you haven’t heard it, here’s what you can expect to find. There are fourteen stonking tracks on this album, which is one of the most professionally produced albums we've had the good fortune of coming across at Bulaka. 
There is just so much going on in each of the songs that no matter how many times you listen to ‘Low Flying Kites’ (and believe us, that's a hell of a lot of times) there's always something new to be found in the mix. Singer Leigh Myles has the amazing ability to just lift you to another dimension with her deliciously sweet vocals, reminiscent slightly of Harriet Wheeler from the Sundays and also Angie Hart of the late Frente. 
‘Surrender’ is a beautiful song, demonstrating thoughtful refrain, but teasing you with the catchiest melodies. ‘Another kind of Happiness’ is lyrically dark and foreboding, but musically it’s totally uplifting. It's all the little touches with Gum, such as distant wah-wah guitar and floaty synth sounds that add that extra dimension to the band, lifting them above the ordinary. It would be easy to go overboard with superlatives, so let’s just settle with ‘class’, eh? This is definitely a ‘must have’ album. The only advice we can offer is to get your hands on a copy as soon as you can, as once this piece of digital gold dust hits the shops, it's going to be snapped up instantly.
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The 'New Jock Revolution' is in full swing, with bands across Scotland jumping on the fuzz pedals and turning up to 11, but Gum are starting their own counter-revolution by sounding nothing like any of their local contemporaries. ‘Low Flying Kites’ is the band's debut album and, from the dreamy soundscape of opening track ‘Asleep At The Wheel’ to the controlled, simmering power of album closer ‘Surrender’, Gum's sound is like nobody else. Varied but instantly recognisable, this music is so slinky and ethereal that it could flip flop down a flight of stairs and float back up again when it's finished.
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When Leigh Myles sings, magic happens. The down-tempo, jazz-tinged pop songs of debut album ‘Low-Flying Kites’ are like 'OK Computer'-era Radiohead fronted by Hope Sandoval or Harriet Wheeler.  It is clear that she is a star in the making. Sassy, photogenic and with voice that would stop wars, Leigh Myles is a weapon of mass distraction.
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