Over the past few years, this singer-songwriter has established himself as a dynamic presence on the NYC club scene. His mold-breaking, envelope pushing brand of piano driven pop-rock has earned him comparisons to master piano-pop craftsmen. On his second independent release, the popular performer matches his progressive style with an equally provocative title, Fishing For Water--a metaphor for his quest for musical perfection in the writing and recording process. The classically trained pianist and vocalist is well aware that his quest for perfection is more part of his musical journey than a specific destination, but comes pretty darn close to achieving his goal on the 13-track project. “Break Through Today” starts out the disc with an interesting blend of vocal and piano, with the dramatic tension of the track building up until a guitar cuts through the air. The resulting sound achieved by the track is something that has not previously been heard. “Give The World A Chance” has a much more natural progression than “Break Through Today”. The musical-like style of the vocals continue, bringing Gilbert’s sound into something that could conceivably be heard on Hedwig and the Angry Inch. In a way similar to “Break Through Today”, the harmonies crafted by Gilbert on “Give The World A Chance” are tremendously infectious. The major difference in “Give The World A Chance” come in the set of influences that Gilbert touches upon; hints of early Michael Jackson and Maroon 5 unite to create something that is simultaneously classic and current. “All Of Us Are Missing” moves the source of harmony from Gilbert’s vocals to the piano work, this time linking together Warren Zevon, Billy Joel, and Counting Crows into a sound that will stay with listeners long after “Fishing For Water” ends. The smooth, silky vocals of Gilbert on “All of Us Are Missing” operate as a cherry on top of what is already a solid track. Gilbert does not let his influences dominate the tracks on “Fishing For Water”; rather, each artist or act that influenced Gilbert is used by Gilbert as a garnish. The disc reaches new levels with “Danny Knows”, a piano-led track that is unique in that there are two sources of narrative present; Gilbert’s vocals and the flittering piano line. The piano line is most interesting during this track because it approaches (and maybe even exceeds) the level reached by Tori Amos. Where most discs have a solid track or two strewn alongside ten or eleven weaker track, each and every song on “Fishing For Water” could conceivably make it onto pop rotation. Gilbert has taken a major step from where he was at during “K-16”, and subsequent albums will undoubtedly build upon “Fishing From Water” in the same way. Pick up this album before Gilbert’s music is present on every radio station from here to Walla Wall.