The Futureheads first struck me as kind of an ironic moniker for this Northern England quartet, because at first impression their debut sounds like a tribute to a handful of early 80's British bands. (In order of influence, XTC, the Jam, The Clash and the Knack). True though these comparisons are, after a thorough study of this record, I believe it to be perhaps the most exciting debut of 2004.

This guitar-based, tightly wound 34 minutes of well-crafted mania becomes increasingly impressive as you magnify your scrutiny. Where the Libertines similar reference frame dilutes and evinces fraying seams with repeated spins, The Futurehead's compositions reveal well-woven layers of lively intelligence that wax progressive instead of atavistic. I know that sounds like a load of pretentious popmatters twaddle, but all of the above are actual words used and spelled correctly.

Singer Barry Hyde sounds a bit like a young Dave Wakeling, but the thing that gives his vocals an affable charm is his thick brewgg (not brogue) accent that certainly reminds of the Proclaimers when it sticks out far enough. The Andy Partridge connection is strong, but what gives the record it's winning Brit-pop classicism is the Colin Moulding-esque bass-lines courtesy of David Craig. The bass weaves melody in taut counterpoint between the angular and ever-jouncing guitar work, and you have to imagine a good bit of the credit for this spry interplay of big sound should go to producer and former Gang of Four member Andy Gill.

In terms of the bands tight punch, it probably doesn't hurt that the drummer is Barry Hyde's brother Dave. The cohesive chaos that comes across sounds like the product of different facets of a single musical mind. A phenomenon not uncommon when the front man and the drummer share the same DNA. Some will argue that they do their original tunes disservice by including such an inspired cover of Kate Bush's "Hounds of Love," but to my mind (and this is where you're going to read something different than anything you may read from any other critic) track 7 "Danger of the Water" is, for reasons I will now expound upon, the most fascinating song on this terrific record.

"Danger of the Water" is clearly the sore thumb on the record, a track quite different from the rest and for that reason I right away pricked up my ears. The song is not only different in tempo and tone, but what really captured my attention was it's spot-on resemblance to the sadly deceased Matthew Jay. Barry sings this song in a different voice, one that's suspiciously identical to Jay's airy tenor and the song itself could be dropped into the middle of Jay's 2001 masterpiece Draw, without arousing the suspicion of Sherlock Holmes.

True, at the very end of the song The Futureheads abruptly shift gears back to their trademark sound, but it is my theory that "Danger of the Water" is a tribute to the shooting star of an artist whose fatal fall from the 7th story window of his apartment building is thought to have been a suicide. The song's lyrics speak of the plight of a troubled friend and perhaps the fact that Jay fell from the 7th story and "Danger in the Waters falls on track 7 is not a coincidence. I have no evidence to support my theory, but this track sounds exactly, nay precisely like a Matthew Jay song . . . food for thought. If anyone can confirm this speculation I'm all ears.

As for the Futureheads, it's misleading to think of their music as nothing but a throwback to the aforementioned bands, they'd fit right into a mix that included the Strokes, Interpol and Ash. No one can deny that they have built this craft using tools left behind by their forebears, but to my way of thinking they're blazing a trail, that while relative, is vibrant and novel enough to admire - where the future heads we can only wait and see.