Like Maroon 5 before them, Orson were in the music game for years before releasing their debut album; yet, like Maroon 5, that overdue debut (2006's Bright Idea) brought them success on a grand scale. That's not the only similarity that Orson share with Adam Levine and co., either: both bands are purveyors of pop-rock infused with the sunshine harmonies of their home state, California - and, even if Orson singer Jason Pebworth's vocals aren't nearly as distinctive as Levine's - both bands are so radio-friendly that they make Forrest Gump look contentious. Having proved their pop plaudits with Bright Idea, and the successful singles that it spawned (No Tomorrow, Bright Idea), you may expect Orson to take a directional sidestep, perhaps try something new - but Culture Vultures is just as commercially viable as its forerunner. Don't expect any lyrical depth or musical innovation here, though - this is a brazenly straightforward pop album, with just a hint of r'n'b funk or schmoozy balladeering. Radio, Ain't No Party and Little Miss Lost and Found are all catchy, if vacuous, singalong ditties, Debbie's Gone smacks of Matchbox 20-meets-McFly and Everybody glitters with a distinct disco vibe. It's true that Orson are more than a little naff, and probably the kind of band that your dad thinks liking will make him cool - but Culture Vultures, much as it's far too bland to love, is also far too easy-going to hate.