It never fails to amaze me that music can still surprise. You'd think that, with only a finite number of notes to work with, we'd eventually reach a point where new sounds and fresh ideas become impossible. Yet every so often a band comes along that completely shatters that notion. Ebbb, with their debut album Shallow Hits, is one of those bands.

The album opens with "Come Alive" and my first thought was, "how am I going to describe this?". In the end I resorted to a little help from the internet before settling on avant-pop and left-field electronica. Maybe it's just human nature that we like to label things. For me, it's simply a way of getting a handle on a band's sound and putting myself in the right frame of mind before diving in. This is unlike pretty much anything I've heard before, although vocally there are moments that remind me of the Fleet Foxes. Musically, though, it's all over the map, part pop, part electronica, with hints of maybe European/Caribbean influences, all wrapped up in an almost beach-like atmosphere. Whatever you choose to call it, it's an earworm that's impossible to shake.

"Home Ground" begins more conventionally, but you quickly realise this is a band completely absorbed in experimenting and enjoying themselves. Before long, conventionality is the last thing on your mind. There's an almost addictive quality to the music. Every track leaves you wanting more, while at the same time there's a warmth and contentment running through it all. I'm sounding like someone who fed a neuroscience textbook through a buzzword generator, but the music genuinely does light up your brain in all the right ways.

"Now You Know" is a more vocal driven track. Perhaps it's one of the album's more accessible moments, but in the context of Ebbb, that's no criticism. It's bright, uplifting and has an unmistakable summer feel. It's almost impossible not to move along with it.

Bringing us back into more adventurous territory is "Pander", which opens with an intriguing vocal sample that reappears throughout the track. Once again it's upbeat and infectious. You'll find yourself listening intently before suddenly realising your head is bobbing or your foot has started tapping of its own accord.

"Side On" was the track that first introduced me to the band, and within seconds I knew this band was going to be something special. It left me genuinely excited for the album's release. The Fleet Foxes comparison is still there in the vocals, but then everything is interrupted by a wonderfully chaotic drum break, underpinned by a deep, throbbing bass line. On paper it sounds like it shouldn't work, but somehow it absolutely does. It's playful, a little irreverent and completely captivating.

The title track, "Shallow Hits", opens with a wonderful synth that immediately reminded me of Tangerine Dream. Then the vocals arrive and, once again, what seems like an unlikely combination comes together effortlessly. I found myself almost reprimanding myself for ever doubting it. I love the track, although I do think "Side On" would have made a stronger title track. To me, the title track should capture the essence of the album, and "Side On" does exactly that. A special mention also goes to the drumming towards the end.

"Remedy" is one of the album's more understated moments. Built around drums, bass and those wonderfully distinctive vocals, it almost acts as a chance for your brain to catch its breath. Towards the end there's a beautiful, almost classical piano passage that's joined by a subtle synth or organ. It's over far too quickly. I could happily have listened to that section for several more minutes.

Beginning with delicate synth strings, "You've Got Me Where You Want Me" creates a subtle sense of unease, only for the vocals to bring everything back to a place of calm. That push and pull works beautifully. There's also an excellent vocal break midway through before the song returns to its earlier arrangement.

"Moving On" once again leans into orchestral strings, opening with elegance and restraint before steadily building. Soon the vocals are soaring, the drums are pounding and the song reveals a power that wasn't obvious from its opening moments.

Gregorian chant-like vocals introduce "Youth", while subtle synths gradually emerge beneath them. The song slowly builds, with the chants layered against additional vocals and increasingly insistent drums. There's a surprising amount happening for such a restrained arrangement, making its relatively abrupt ending all the more unexpected.

As soon as "I'm Not Enough" begins, you know it's going to be a fitting closer. One voice introduces the title before another joins in, and from there the song steadily builds. Despite running for just over two minutes, it never feels rushed, instead unfolding with remarkable confidence before bringing the album to a satisfying conclusion.

This was an album I was genuinely excited to review, and that doesn't happen very often. Hearing "Side On" left me counting down the days until "Shallow Hits" arrived, and I'm delighted to say it more than lived up to those expectations. Whatever label you want to put on it, this is one of the most inventive and exciting debut albums I've heard in quite some time. I'll definitely be adding the vinyl to my collection, and I can't wait to hear where Ebbb go next.