In the past, every one of my trips to High Wycombe ended in somewhat bizarre fashion. I've been involved in a four car pile-up en route to the place and, thankfully on another visit, been with someone who claimed to have been visited by a ghostly apparition. My gut feeling for the place needed cleansing and, thank the stars, a young band from that very place has now given me reason to not be totally repelled by the locality.

But this is not just any young band, this is Young Guns, one of the most hotly tipped new bands in the country. That doesn't always mean that the band in question are actually any good though does it, all that hype and hot air. Well, the dozen songs housed on the shiny disc that is spinning ferociously on my stereo as I type this dispels any notion that this band are clawing at the prospect of huge success for any reason other than the fact that they have fashioned an album that borders on the fantastic.

Just a year after releasing 'Mirrors', their debut EP, Young Guns find themselves in an insanely strong position; they appear to check all the boxes that will guarantee them sound commercial success in 2010. Their songs contain hooks so strong that they will force their way into popular culture, they have a pin-up for a frontman who, get this, has a great voice and they have a maturity and passion in their music that will ultimately keep die-hard fans appeased when the poppers come a-picking.

Recorded in February of this year with producer Dan Weller (responsible for that debut EP also) at the helm, 'All Our Kings Are Dead' opens with the storming 'Sons Of Apathy' which, pretty much, offers up genre perfection in just over four minutes. 'Crystal Clear', which you may have seen troubling your television screens at an alarmingly regular rate recently, follows and it soon becomes apparent that almost every song on this album is a potential single. Or download. Or music video. Or whatever it is these days.

It appears to have been pretty well documented that vocalist Gustav Wood has poured many of his inner emotions into the lyrics of this album and third song 'Meter & Verse' is the first to really hit the emotional heights as a musical equivalent. Still heart-achingly catchy, of course. Next track 'Weight Of The World' walks a similar path before 'D.O.A.' kicks in with a weighty riff and gang vocals; another huge chorus troubles this great tune. 'Stitches' follows and is a more moody, brooding affair with throbbing bass and an epic hook.

Any doubting of the confidence of the band - who insisted on releasing this debut on their own Live Forever imprint -  is surely quelled when 'Winter Kiss', the hit song that was released as a download-only single in January, is thrown into the album at track seven and (now this is the important factor) doesn't stand out, such is the strength of the rest of the album. What a fantastic song though. That the band follow the hit single with a song opening with a meaty riff that wouldn't be out of place on the new Bullet For My Valentine album speaks volumes. Any accusations of this band peddling puerile pop should get their coats and leave right now.

There is a whisper of negativity that creeps up on me around tracks nine and ten of the album though. There is little wrong with the songs - 'After The War' reminds me of Mansun at times - but, when the ant-men of the future dig up those time capsules that everyone decided to bury a decade ago, they will discover that songs like these used to exist as B-sides to those relics called singles. In an age when every effort is made for people to actually pay for music, a twelve song album is a fantastic weapon but, truthfully, this does affect the flow of the album. Like a slow third act of a movie, this section of the album could be the time when you feel your mind wandering. It's a small criticism, but a criticism all the same. How much the flow of an album actually matters in the hands of the shuffle generation, however, is debatable.

A strong finish is what we need and 'Beneath The Waves' provides it; a great vocal and chugging riff giving way to yet another delicious hook and a mid-section that will rattle teeth with its heaviness.

Pardon me for this, but I can't help but compare Young Guns to YouMeAtSix, a bland band that I have a particular distaste for. If they achieved what they have in a relatively short space of time then, by this time next year, Young Guns deserve to be massive. They are superior in every department, whether it be hooks, riffs or attitude. And, if you are that shallow - and, unfortunately, shallowness is what makes the world go around these days - then Gustav Wood is way better looking than that Josh fella; male model versus kid in college bus queue. There's only one winner, girls (and boys - Über Röck is metrosexual and proud!).

'All Our Kings Are Dead' threatens to take Young Guns into the big league and, honestly, it is a threat to take seriously.

www.myspace.com/youngguns