Whit Hill and The Postcards' debut record, "We Are Here," is honestly not a style of music I normally listen to. And to say it's actually one style wouldn't be honest at all.

The Ann Arbor-based group that features the husband and wife team of Al and Whitley Hill, labels itself as "a sound that blends country, Southern rock, blues and bluegrass." The majority of the record is country, but with the infusion of an electric guitar and fiddle (occasionally in the same song), it becomes even more unique.

Musically, "We Are Here" is consistently strong. The fact that it doesn't sound like anything else on the commercial market right now only works to its advantage.

The guitar work of Al is reminiscent of different sounds at different times - the opening track, "50 Miles to Detroit," sounds like a backing track for Jewel, yet in "Lucy on the Line," among others, I'm brought back to my roots in country. The fiddle adds a bluegrass feel in certain songs, and a piano, a bluesy touch to "Tone/Shift."

Perhaps the most musically unique song on the record is "Where Are You in the Morning," with guitar work reminding me of No Doubt.

The vocals of Whitley add to the originality of the record. Her vocals definitely reflect an early era as she sings each note passionately and honestly.

That honesty extends into the lyrics, which Whitley wrote herself. Her songwriting is so clever and the words are formulated so carefully that it flows beautifully from one line to the next. Highlights include: "I'm like an old, imploding high-rise no one lives in anymore," from "Sandusky," and, "And I know that it don't matter now/The planet spins on like a blue and silver carousel," from "Oh Well."

Stand-out songs include "Maddie," a recollection of sharing a room with none other than pop star Madonna at the University of Michigan before she became so famous, "Lucy on the Line," which rocks musically, and my personal favorite, "The Night When I Was Born," a sweet ballad that shows off Hill's vocal talents.