St Jude is destined to become an album synonymous with negative comments from reviewers, whilst vast swathes of the public disagree vehemently.

The online squabbles that have broken out over the debut release of the Manchester quartet look destined to go on for a lifetime, with the music press turning their backs on the group and dismissing them as a one trick pony.

Is it justified? Musically, there is a strong case against. They’ve fallen into the instant ‘Go To Jail’ category of emulating The Smiths’ guitar parts from This Charming Man on No You Didn’t, No You Don’t, whilst Bide Your Time has the incessant trappings of a Libertines branded piece.

As lead singer/guitarist Liam Fray sings, “I’m like a Morrissey with some strings” on Please Don’t, the comparison is uncanny, but not always for the reasons that he would like.

The strongest case that The Courteeners have in their favour is the lyrical content within. Whilst it won’t exactly make Moz run for cover, it is by far their strongest asset. Second song Cavorting does make a good perception about drugged up individuals (read: “goggle eyed girls”), as the OTT approach is given a swift two-fingered salute.

If you’re looking for the swaggering, arrogant nature that they’re now becoming infamous for, then look no further than Fallowfield Hillbilly. With an apparent attack on the scenester entity in the Manchester area, Fray finishes with the stinging line: “I’m going to ask you, can you play guitar my boy? Can. You. Fuck.”

Middle track If It Wasn’t For Me and its references to ladies with bad hair and teeth (everything James Brown hated, as it goes) again points at all too regular real life incidents, as does How Come. Its slow, solitary guitar introduction and the topic of discussion being a ‘Jack the lad’ character, and just how the hell he gets away with as much mischief as he does is another depressingly spot-on observation.

Just in case there’s an impression here of it being merely bragging rights and soapbox views, there are the occasional moments of sensitivity. Closing song (ignoring the ‘hidden’ Acrylic), Yesterday, Today & Probably Tomorrow rounds things off with an acoustic lead tale of fading relationships. Meanwhile Please Don’t treads the boards of male stoicism, and comments on not knowing the La’s, whilst sounding like a distant relative to There She Goes.

Oft-referenced tune What Took You So Long? is clever in the way it tries to encapsulate a British frame of mind with the references to dirty Stagecoach buses and waiting at the Post Office, but ultimately tries too hard. Choruses should flow or be punchy, but the lines of: “What took you so long?/Was there a queue at the Post Office?” just doesn’t work as an anthem in comparison to recent single Not Nineteen Forever.

The bleak opening that was Aftershow, with the sensations of crisp, desolate early mornings and Kings Of The New Road’s Kings of Leon nuances are decent songs too, but it doesn’t ultimately save the group from struggling from their own claims.

Declaring that your debut album will be up there with the Stone Roses and Oasis is as bold as it is stupid – it could be conceived that Fray’s head disappeared up his own arse halfway down the M6 – but you shouldn’t try and curb ambition. Instead, a quick dose of realism could be justified.

Whilst The Courteeners have a knack for penning words that will tap into the hearts and minds of modern Britain, they need to work on their musical (and vocal) delivery. Then – and only then – will they only start to find the adulation they think they deserve.