David Hazel’s voice, first and foremost, is flexible and dreamy, rich and beseeching. Brian Petersen’s backing vocals and harmonies are beautiful, his high notes mixing perfectly with Hazel’s wide range.

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Then there are those releases you really don’t know much about, discs by bands like Indianapolis’ Extra Blue Kind. You’ve heard their name before—but that’s about it. Then their CD arrived; you spun it, and found it pleasing—indie rock, maybe a bit derivative in spots, some standout tracks and others which seemed less memorable—enough to attend their show, which you enjoyed. The next day, you spun it again, wanting to refamiliarize yourself with the tracks you’d just seen live...and, holy shit.

This is one damn good CD. You’ve now spun it more times than you can count, and each time, you find new things to love. The collection of 13 songs is varied yet unified, indie pop at its heart. David Hazel’s voice, first and foremost, is flexible and dreamy, rich and beseeching. Brian Petersen’s backing vocals and harmonies are beautiful, his high notes mixing perfectly with Hazel’s wide range. And the songs are well crafted, the power-pop–leaning guitars (Hazel, Petersen) pointed and neat, smooth and straightforward; the drums (Randee Eimer) and bass (Barajas; more on the bass later) adding just the right undercurrent of groove and desire.

“Make Yourself Useless” is damn catchy, a near-perfect opening track. During the refrain—which finds Hazel stretching his vocals upward to beseech, “Does it matter now?/Does it matter? Does it matter now what you did then?”—the drumbeat rapid-fire and relentless, the guitar strums perky and upbeat. “So you crashed into the earth,” Hazel begins on the understated “You Came Crashing,” “it’s quite a piece of work.” This track’s more laid back and funky, with ’60s and groove influences sprinkled tastefully throughout. Discordant sounds and Hazel’s throwaway “Dark…you made it so dark” make an eerie intro to “Out of My Hands,” a kiss-off song if ever there was one.

“Out of the Disconnect” is reminiscent of something you can’t quite pinpoint; Hazel nearly recites the refrain as Barajas' bass drives the song into darker territory. Up next is “Lipstick,” a galloping pop-rock song, also heavy on the beats; your one complaint comes in Hazel’s near-screech delivery of the final four lines, which seems unnecessary on an album that’s otherwise so beautiful. With “Atmosphere” and “Trails Turn,” you see EBK’s slower, more pensive side; on the latter, Hazel bids farewell: “It’s not my fault the mirror changed/there’s a brand new me reflecting.” Despite its downbeat subject matter, “Our Only Appeal” picks up the pace, Hazel’s voice sounding richer, deeper, fuller as Eimer’s drums take center stage. The strained vocals on “Holiday” channel David Bowie, as does the disco-tinged guitar line—but that’s where the comparison stops. This is a gentle pop song with a steady beat and fuzzed-out extro, like nothing you’ve ever heard from the Thin White Duke.

The final three tracks ensure The Tide goes out with a bang. You can’t help but bob your head to the addictive “Keep Me Around,” in which Hazel vows, “No one leaves this time/I will hunt you down/I will make you mine.” The laid back “Pinch, Blink, Stay Alive” is a showcase for his vocals, which run the gamut from restrained to pleading to full-throated. As for the sexy closing track, “Sugar,” you are now unbelievably addicted. Who knew a thumping bass line could be so stimulating? Hazel, for his part, eggs you on, directing: “Give me some of that bass…more bass…oh, shit, that feels good…it feels too fucking good.” And he’s right: It feels amazing.

So now, in this post-listening glow, you want to tell everyone: The band’s called Extra Blue Kind, the disc (their full-length debut) The Tide and the Undertow. Catch ’em on tour, and make sure you pick up this disc. It’s positively shimmering.

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