Aaron Thomas Weaves A Tapestry Of Life Stories With New Album 'Human Patterns'

Aaron Thomas has lived a well-travelled life, filled with adventure and countless journeys. His first album since returning home to Australian shores, 'Human Patterns' (May 17) is, unsurprisingly, a worldly collection of songs. A journey of its own, it blends indie melodies with old country tones that form a body of work, full of stories and rich in sound.

A mature work, this album is Aaron Thomas's first full-length record in a decade and explores the ups and downs of life and the moments of reflection in between. The lush arrangements of strings, guitars, horns, piano, and banjo all weave their way through Aaron Thomas' experiences, creating a complex, but beautiful musical landscape.

His music career has taken him all over the world to feature in festivals like SXSW (Austin), CMJ (New York), Popkomm (Berlin) and London’s Concrete and Glass. After years abroad, his return to Australia has led to appearances in Australian festivals like WOMAdelaide 2017, and has had his most recent releases featured by the likes of Double J, ABC Country, AU Review, AAA Backstage and more.  

Finally releasing it into the world, Aaron Thomas describes this album as:

"This is the album I forced myself to make. The one I worried I wouldn’t get to make. The album of a very stubborn and passionate musician. A kind of record for myself in a lot of ways that kind of embodies my desire to not give up and walk away from music, even when it’s not paying off. And I don’t mean financially. "
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This album is a rebirth for the singer-songwriter, and this first song sets the tone. 'Walk on Water' is a folky, love song filled with guitars, fiddle, tambourine, and banjo, in a tune that's full of optimism.

The second song turns suddenly in a very different direction, almost to surprise the listener. 'Money' is a dark and chaotic song, with a wild, brass-led instrumental storm brewing throughout it and moody, bitter lyrics about a disappointing friendship to match.

Following is 'Mouth of the City', which is feels like a tip of the hat to Aaron’s influences. A raw, dark groove and a moody guitar part lay the base for Aaron’s double vocals.

'Like a Stone' is a chance to breathe, a light, but earnest celebration of unconditional love. The Spanish-inspired instrumentals create a strong sense of emotion as the song builds as the arrangement grows lusher throughout.

'Before I Met You' is packed full of playful guitar and takes a silly, hopeful, look at love.  It's joyful and goofy, and brightly honest which contrasts with 'Long Lost Friend', a dark and desperate journey that explores the complex emotions about missing a friend. This slow song drifts between minor and major chords, riding the complex, contrasting feelings of the album.

'Bottle of Wine' pokes fun at Aaron’s own inadequacies while still finding a way to be a sincere love song. To keep the album rising and falling, a slow, nostalgic song follows that hints at a damaged relationship. 'Spiritual Man' is layered with strings and a big old piano and is, perhaps, the moodiest song on the album.

'My Brother, My Hill' is a song that tries to understand the distance between family, with a drum like a heartbeat sitting deep in the mix that thumps rhythmically throughout until the surprising, chaotic end. Then, 'Your Light' touched on the saving power of new love. It's packed with soft, layered melodies, rich with harmony.

To finish the album off, is 'We Both Know', a brooding, guitar driven ballad, grounded by cellos and an intimate vocal from Aaron that builds to its epic conclusion.  'To My Knees', is an almost Harry Nilsson inspired tune about being happy doing nothing, The meandering thoughts of an artist contemplating the years ahead. It has an almost 70’s sound of piano and saxophones and is a song where Aaron finds peace in knowing he’s simply living a good life.

'Human Patterns' is an album that Aaron Thomas has been carefully cultivating over a decade, and on May 17, it's time for it to be set free into the world.