ALL THE WATERS OF THIS WORLD

Out of nowhere comes this record from Seattle-based artist Aaron English. And oh boy - this is not music you would expect to come from that place, that's for sure.

Aaron English music is heavily based on the piano - with a plethora of instruments allowed to fill out the textures of the songs, and in some cases also allowed to be the central instrument. Electric guitars, violin, synth - even a didgeridoo can be heard in some of the songs.

Describing the music as such is difficult. Throughout the album the mood of the songs are generally melancholic, and sometimes sad. This is music for dark autumn evenings, for red wine and remembering the past - or just daydreaming.

As far as stylistic expression goes: Imagine Billy Joel or Elton John collaborating with a world music ensemble, and you're close, at least if you can put it inside an art pop context. As a singer Aaron English hasn't got a great voice, but it suits his music. The closest comparison I can think of is Peter Gabriel.

The album as a whole is good. A few fillers, quite a few good songs, and truly remarkable item: Mandeleine, a sad and haunting song with Celtic and Irish influences. Other personal highlights are Sea of Nectar, The Lullaby of Loneliness and Ghost is Broken. But all in all this is an album with solid songs throughout, few of which can be said to be much better nor worse than others.

Aptly named, "All the Waters of this World" represents a landmark intermingling of styles filtered through the lens of a decidedly enlightened middle class (I presume) American fellow. I hear predominantly world, progressive, new age and pop flowing together refreshingly as rarely before. English proposes a disk that has drawn comparisons to PETER GABRIEL but more melodically oriented, and with vocals that blend better with the accompaniment. It's instantly likable while worthy of many a return visit.

From the opening notes of the Latin-informed "Sea of Nectar" through the introspective luminosity of "Deep Blue Quiet Places" and the primeval sorrow of "The Lullaby of Loneliness", the album grabs hold without delay. English pulls out his trump card, the sensitive piano ballad, for the lovely title cut and the even more sublime "Very Very Heavy", which transforms itself to a hypnotic chant with swirling harmonies. "Ghost is Broken" and "Mandeleine" are the most overtly progressive, but even they are shrouded in a DOUGIE MACLEAN and LOREENA MCKENNITT styled homage to the past. The array of keyboards played by English along with his equally versatile mate Patrick Strole and the violins of Meredith Yayanos all set spellbinding moods.

While it loses steam with the more conventional closing cuts, this debut by Aaron English is worthy of more than a dip and a taste. A watershed.

Aaron's English voice dominated music is indeed in the right place here in Crossover, because it blends a lot of things, while still being more or less "Prog" (meaning differs).

Mostly featuring Jazzy rhythms (example Sea of Nectar), World music ("ethnic" influences, like in Mandeleine or Flower of Lebanon), Ballad-like songs (perfect example is All the Waters In the World, reminding me for example "All the Roadrunning" by Dire Straits, or something like that). Combining this in a right way is important thing here and I'm not sure that it is done properly at all times. Something doesn't fit here in this music equation. It simply doesn't work as it should work.

My girl stated that she likes it and that I should give 4(-), but I'll stick with my former opinion and give

3(+), for, even enjoyable (although not exactly my cup of tea), it's ... you know what it is, I don't want to use the word.

This album starts right out on a high note. With energetic percussion and some fine songwriting, this album succeeds where many popular artists in the eighties and nineties failed, by adding ethnic elements to the music without making it sond contrived. And many of the songs on the album have the same quality.

Where the album loses me is where is gets a bit too folky for my tastes. The title track, All the Waters of This World begins this way, but at least pulls out of the tailspin before it's too late. Flower of Lebanon and Lullaby don't fare quite so well. Otherwise, I would say that this is a fine collection of varied musical styles.

My first listen to Aaron English came via an internet podcast where I heard a 'live' version of 'Deep Blue Quiet Places'. What a song!. Like most Prog music for me, it grew on me more and more.

'All The Waters Of This World' is an interesting, mood-setting, Prog-offering, which I regard as a fine debut by an artist. The first three tracks: Sea Of Nectar, Deep Blue Quiet Places and The Lullaby Of Loneliness, are all tracks which are beautifully constructed, making you want more, anticipating, what the next track will bring.

The album does slow down a notch during the middle sector, but overall, a really good listen. An album, once finish, you start from the beginning and listen through it a second time . . .

(Still can't find the 'live' version of 'Deep Blue Quiet Places'anywhere, so not sure where it came from?)