Over the course of a year there would certainly be ups and downs if we could listen in to the sound of the water cycle - falling rain, rushing rivers and raging seas. In The Company Of Friends however Aaron Page is not limited by geography, and so his debut album under that name finds a good deal of ground to cover.
Opener 'So Bright' creeps up slowly with clear electric guitar chimes before drums come in to pound a stairway to great heights from which Page's voice soars, accompanied by fluttering synths. 'Good Friends' is as sweet as its title suggests, utilising big indie guitar hooks for high drama, perfect for radio as an entry point to the Water Cycle sound. The solo aspect of the record becomes clearer in the simple guitar and drum-track tattoo of 'Hazel' while 'Baby Steps' bears resemblance to The National's proclivity for strong rhythm and vocals. The point should be made here that the album is built on a mesh of twining melodies of various instruments that provide enormous versatility across all nine songs, kept consistent with the poise and assurance of Aaron Page's tenderised voice which is deep, full of detail and so highly complemented by the appearance of lighter female vocals.
A commendably strong track for the midpoint comes in 'Sparks' which moves easily on a light, high keys intro, working its way through 4:37 as the vocal rumbles over a rapid 7/8 drum machine time signature, and with barely any bass tone, there are low synthesizers and erratic electronic whimpers. 'Cutting' is strange: akin to a skit track, it still manages to be melodic, if somewhat disconcertingly so by the use of high, wavering notes, while 'Catching Leaves' comes across like poetry or a spoken-word piece. These are downsides, disappointing as the quality of the other songs is high and so it feels like space for more has been wasted.
Somewhat atypically for the general feel of The Company Of Friends, 'In The Roses' is very much the folkiest moment of the album, sounding most like the work of a solo songwriter is expected to, straight-laced and laden with sweet spots. Unusually, the strongest moment in the Water Cycle album comes in the very last song Avi where Aaron Page and briefly allows his voice to reach its fullest and most commanding range. The rock guitar sound is fantastic but marred by a convoluted, seven-minute outro.
Overall, it's a very accomplished debut from an unknown performer that is packed with raw flair and promise, blending ambition with earthy grounding and deserving further opportunities to expand.
