If the average Irish band's songwriter could write as many good tunes as Martin Jackman, there wouldn't be so many average Irish bands around at all.

Chock full of splendid melodies, Dropped, the debut album from Freres Jackman & the International Elevators, and the first non-compilation full-length release from the promising Mickey Rourkes Fridge label, is an incredibly fun and confident beginning to what is sure to be a fine future for the Dublin band.

If the graffiti in the Rock Garden toilets - "Kill All Dublin Ska Bands" - is any indication, however, the dominant ska style of the band isn't everyone's cup of tea. And I can't say I'd want to drink it everyday myself. Nevertheless, the constant emphasised upbeats instil these songs with incredible life, and quirky lyrics help the band to maintain a wild and crazy guy image, not unlike that of Madness.

'Can't Stand Next To You' jazzes up a great melody with splendid piano work, witty word plays and smooth, casual Elvis Costello-ish vocals. And in common with the rest of the album 'Giddyap Stakes' and 'Leave Our Kriz-e Alone' are equally energetic, clever and enjoyable.

Refreshingly, Dropped combines professionalism with a pleasantly intimate production style. 'Something You Can Do Without', for example, begins with the entire ensemble singing a slow intro in a cheeky country drawl, before launching into the slicker body of the song. Matt Houlihan - to prove the point - is credited not just with "bass," but also with "shouts" in the liner notes.

Too bad then, that the mix of acoustic, ballad-like episodes, dance-type interruptions, and funky a cappella bits on the last track, 'Feelin' Natural', make you feel that had the band slipped in one or two more tracks that stray similarly far from ska formulas, Dropped would appeal to a far greater audience.

'Feelin' Natural' proves that the band possess the creative force to avoid a relationship with ska that's as stagnant as UB40's tie with reggae, but while the sheer quantity of catchy melody lines on Dropped is enough to disguise a bit of over-reliance on ska two-tones, future works might not be so lucky.

• Tara McCarthy