The debut release from Seattle-based quartet Siberian represents that rare breed of first album that shows not only the band's future potential, but also an actual mastery of production and composition. Too often up-and-coming bands are stifled by a lack of confidence and creativity when they get to studio, resulting in underwhelming and disengaging albums that do little more than replicate their live performances. Siberian alternatively gives us With Me, a collection of 11 songs that are as fully realized and compelling as anything yet to be released this year. A first listening draws many obvious comparisons. The general sound evokes the likes of Keane, Snow Patrol or Interpol. A few songs, such as the sixth track, "Airship," fall somewhere along the lines of The Killers, only not really annoying. In some of the album's more inspired moments, like the intricate guitar parts exemplified by the third track, "Indoor Eyes," there are parallels to be drawn to Muse, or dare I say, Radiohead, specifically their 1995 album The Bends.

There are, however, plenty of bands out there recording albums that can garner the same basic comparisons. So what is it that makes With Me such a resoundingly listenable album? The answer lies in the engaging arrangements and inspired structures that reflect a knowledge of album construction that is rarely seen this early in a discography. Though a vast majority of the album is comprised solely of guitar, bass, drums and vocals, Siberian effectively keeps interest through every song. Most of the tracks begin with a catchy guitar-based hook layered over a forceful drum part. Drummer Aaron Benson has a real thing for subtle syncopation, and the bass work of Zach Tillman offers just the right balance of constant rhythmic drive and thoughtful harmony. The vocal lines of Finn Parnell, though none of his lyrics especially stood out to me, perpetuate the Muse comparison in their airily melodic quality.

Though the album is amazingly consistent, there are of course a few highlights. The seventh track, "Futuristic Kids," includes rising and falling dynamics that are as surprising as they are inventive. Siberian knows just when to cut out certain sonic elements and bring others in, and this is probably why I kept thinking back to The Bends. Another example of this structural creativity comes in track four, "Wolf and Crane," which also contains the Glockenspiel, everyone's favorite Bavarian metallophone. The penultimate song, "Tightropes," gives us some of the best arpeggiotic guitar work and complex drum parts on the album, while the minimally-acoustic Georg Bendemann offers a much-welcomed change of pace.

By the album's end, it is clear that Siberian is soon to be launched out of the Seattle underground and into the realm of indie mainstays. There is not a single song on With Me that is not inventive, catchy and all around well produced, and as debut albums go, this is second to none. My only real disappointment is that given how solid of an album this is, I wasn't given an opportunity to use a clever Siberian-related pun like "Siberian leaves me ice cold.