When it comes debuts, I like to come in with a different set of expectations, especially if I’m coming to it after already heard later releases. Such is the case with Moon Letters, a Seattle, WA band whose debut Until They Feel The Sun wears its influences so clearly on its sleeve there are moments when I chuckle. But it’s exuberant, and to my ears comes not from calculation but from the rush of joy that comes from making something that speaks to that inner voice, the one that prompted the picking up of an instrument in the first place.

So what are those influences? There’s certainly an early Genesis ring, and Yes is a major touchstone. But I can also hear a flair for the dramatic and theatrical, akin to Van de Graaf Generator and Jethro Tull in the mix of bombastic guitar riffing and gentler, acoustic passages. Opener “Skara Brae” embodies all of them in a massive overture that lays out the quintet’s mission statement. It ends with a lovely flute solo that segues into “On The Shoreline”, opening with a lovely melody that leads to one of the most unique facets of Moon Letter’s sound: the vocals. I *think* the lead vocals are from said flutist (flautist?) Michael Trew. He has a rich, highly emotive voice, and when coupled in Until They Feel The Sun‘s many three-part harmonies with keyboardist John Allday and bassist Mike Murphy (both also play trumpet) reveal a sonorous warmth, especially on the largely a cappella “What Is Your Country”.

It all sounds folky and with just the right amount of progressive pomp, but for me it really kicks into gear with the heavier tracks. “Beware the Finman” cranks up the distortion and lays out some great riffs. Guitarist Dave Webb cuts through with a tone that recalls the way Martin Barre would stand out on Tull’s mid-70s classics: I get all sorts of Songs From The Wood vibes across the album. Do I get a little distracted when he spins out a “Woody Woodpecker” reference in his closing solo? Yes, but it gets out of the way quickly and lets the song end on a high note.

Even better are the next two tracks, with “Those Dark Eyes” being perhaps the best song on Until They Feel The Sun. Murphy’s bass locks with drummer Kelly Mynes and the song slowly ramps in intensity and instrumentation until the killer riff hits, Ally’s keyboards doubling and then falling back to color and layer the sound. Trew’s vocals also rise up, and from a delivery perspective reminds me of some of the more distinguished singers of the 80s, who weren’t afraid to stretch out and let the wavering emotion of their voice cut through a song. The nine-minute epic “Sea Battle” continues the heavy, in structure perhaps the most indebted to the big acts of the 70s. The repeating riff is so catchy I find myself humming it over and over along with the song.

Late tracks like “The Red Knight” and closer “Sunset of Man” continue Moon Letter’s flight of fancy, catchy progressive rock, taking a brief detour for the lovely and brief acoustic “It’s All Around You.” Until They Feel The Sun is a fun, catchy debut, showing the promise of what they would become over the course of follow-up albums that begin to more firmly establish their own identity.

But I’d be lying if I said I didn’t like hearing all my heroes in the runs and riffs presented on this mighty fine debut.