Til We See the Shore is a captivating, rollicking indie rock offering.

From the first track, Seabird's Til We See the Shore is a captivating, rollicking indie rock offering sure to grab the listener. Leadoff song "Black & Blue" sounds like an instant single, ready for WOXY or KEXP. Lead singer Aaron Morgan proclaims, "We've all seen way too much/ but we can't look away from the sun." The piano-intro to "Apparitions" proves the band's mettle; this is no one-trick pony, no sir. Here, Morgan's vocals are eerily reminiscent of Muse's Matt Bellamy; the grandiose keyboard sounds only serve to further that comparison.

Track three also kicks off with a piano intro; this track's slower (as its follower, "Rescue") but no less engaging. By the time the disc hits "Let Me Gone," definite Koufax comparisons come up, especially lyrically. Seemingly a tale of a band dissolving, Morgan intones, "The timing was right but it all ended with a fight/ the band wanted out and so did I." On the refrain, his voice is soaring, further expanding the range of his rich, full and somewhat nasal vocals.

Twelve songs strong, Til We See the Shore also includes such highlights as the organ-driven "Cottonmouth (Jargon)," the upbeat "Sometimes," the gentle love song "Falling for You," and the rocking "Maggie Mahoney." Piano remains a central and defining instrument throughout the disc, a perfectly stark background to Morgan's singing and words.

Disc closer proclaims, "Sing 'til your heart hurgs, then sing some more." Good advice, that. As far as new releases with numerous hooks and enough versatility to please even listeners with ADD, Seabird's debut is a fine offering for your indie-rock playlist. A- | Laura Hamlett

RIYL: Muse, Koufax, Our Lady Peace

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