Finally Getting AQuainted!

I have always been a fan girl.  That is my truth.  As far back as I can remember, I have always been the girl that would just dive head first into whatever musical artist caught my attention.  It’s like an obsession, although perhaps that is a bit of a strong word for what I do.  Obsession is like Glenn Close in Basic Instinct.  What I do is a little more studious. 

I start by studying the music.  I dissect the influence; I listen for familiarity.  I pour over lyrics.  I found connective patterns.  I hold a distinct notion that the music has been placed in my path for a reason.  Somehow, the music I hold most precious in my life comes to me when I need something from it.  Lyrically, the message is always perfect timing.  Musically, it always makes me feel good.  But there have been a few times in my life when I have looked at my new musical subjugation with a bit of personal disdain.  And such is the case with Aqueous.  When the obvious brick finally hit me in the head, I was left to ponder “Why did it take me so long?”  “What wasn’t I getting here?” I’ve seen Aqueous live a dozen times over the past two years but apparently it wasn’t until the past spring that I actually starting hearing what this unbelievably talented band is creating.  In fact, now that I think about it, I’m actually blown away that more people aren’t falling over themselves to ride the rail at an Aqueous festival set.    

Everything about their music is a snapshot at some of my favorite musical flavors: the precision of Umphrey’s, the spaciness of Floyd, the best edge of 90’s alternative rock and the subtle but hypnotic flow of reggae. At least that’s what I hear.  Aqueous is the perfect musical tease.  A musical ebb and flow that seems to harness the aquatic notion of their namesake. It’s an unbelievable melodic inertia created by the” boys next door”, a charming but stigmatic label I am sure that Aqueous is likely to sustain for the duration of their journey as a band.  But it’s that stigma that makes them so unalike every other band in the jam scene right now.

Almost two years after casually watching Aqueous open for Lotus at a Canalside show in the summer of 2013 (it was the first time I had ever heard them), I ventured into this past Thursday’s Canalside show with a different set of ears.  Not only had I spent the summer devouring their musical catalog, I also understood the importance of the moment for the band.  Aqueous was opening for Umphrey’s McGee.  It’s a simple story told only a few times- Boys have favorite band; Boys work hard inspired by favorite band; Boys open for favorite band in boys’ hometown. 

Not shy to let the moment fly, Aqueous came out with a statement opening with the thickest aural hitter in their arsenal and my personal favorite “Kitty Chaser (Explosions)”. It’s an impeccable sample of what they do best.  Within the first minute, the audience was given a quick glance at what Aqueous does so seamlessly; infuse four distinct musical patterns into a sweet satisfying groove. They have a unique and very distinct way of taking the center of the hook and driving the rhythm into it.  No part of the song is wasted energy.  There is no filler. It’s a sign of craft songwriting.

There is something so obvious about the way Aqueous patterns their music that you never see it coming.  Simply because it’s not apparent until you hear it.  It’s like mixing floral and plaid.  It’s not supposed to go together but it does.  And that’s what I love about their music.  My ear is always being challenged. There is something so wrong about their timing, that it’s right. Not the actual beat timing, but the compositional timing.  Just when I think I know where a song is going, it veers off ever so slightly.  But where it lands, although unexpected, is always the perfect spot. 

 What makes the band even more endearing is the band members themselves.  Always willing to listen to me dribble, I have been lucky enough to have multiple conversations with Mike, Dave and Evan.  Sometimes about music; sometimes just basic small talk.  But it’s the simple gesture that goes a long way.  They are a shining example of the type of people that hail from Buffalo; friendly, hard-working, salt of the earth musicians that take nothing for granted.  Which leads me to the other side of my Aqueous obsession.  They are SOOOOO boy next door.  And this works for them on multiple levels. 

For as much as everyone loves a rock star, no one really likes an asshole.  And more times than not rock star equals asshole. My perception of this quartet is that as they grow, they will remain popular among their fans simply for being those nice kind of guys. That’s important to growing a fan base.  But for me, at 40, my love for this band leans with a little bit of a Mrs. Robinson twist.  There is something fascinating to me about the musical tutelage that Aqueous’ music brings to me. It’s a multitude of sounds that are of historical importance to me being reworked by young musicians that were barely in middle school when these sounds were happening real time. 

Sometimes I listen to an Aqueous song and I feel like I’m listening to a super group.  It feels as if Tom Morello and Nick Hexum trapped Roger Waters in a studio and they all figured out how to combine their comparatively dissimilar sounds into one cohesive song.  I listen to music to hear influence.  I like to know the roots of a musician’s songwriting. What’s at the heart of it?  It doesn’t mean that these guys are just ripping off licks and piecing them together.  But rather, it shows a studied integrity.  I believe that the only way you can create something unique is to find an influence and make it your own.  It’s music inspiring music. 

 So often, after an Aqueous show, I’m left feeling like a creepy cougar.  I’m reminded by the bassist wearing a “Rugrats” t-shirt or the band that will jam out a “Super Mario Brothers” that I am never too old to be taught something new in regards to the musical sounds that mean something to me.  It’s an infusion of the music that inspired them to become musicians glittered with a culture that is about a decade beyond my own youth. 

Over the last few years, what I have noticed more than anything is the substantial growth that the band has taken as musicians.  Despite personnel changes behind the drum kit, the band hasn’t wavered at its foundation.  In my opinion, that is a testament to Evan’s growth as bassist.  Or perhaps it’s more of “Sampson” thing; I swear the longer Evan’s hair gets the better of a bassist he has become.  Or maybe I’ve just been paying more attention. I’m a huge believer that a solid rhythm section is crucial in any band, especially one that is as technically sound as Aqueous.  The diversity of the music needs to sit on a concrete base. Since last summer’s drummer change, it sounds like Evan has simply taken more ownership on where he drives the music. He stand behind his groove; he’s well footed in the flow.   Sadly, it was just announced that Aqueous will again be going through another drummer change (sad because Ryan has crushed it this past year).  But despite that news, I am confident that the alteration will just be another stepping stone in this bands growth.  

I recently snuck down to Buffalo Ironworks to catch Mike and Dave on an acoustic night.  Side note: if you have a chance to check out Mike and Dave’s Wonder Emporium, DO IT!  It’s an intimate look into their influences and musicianship as they play both Aqueous and non-Aqueous tunes.  It was at this particular acoustic session that I noticed Mike’s recent vocal progression.  He has an incredible purity in his tone that is backed by an emerging vocal range.  As a singer, acoustic sessions will showcase your flaws as you are more vulnerable without an electrical backdrop.  It is here you must learn to either edit those flaws out or make them better.  And from the sounds of it, Mike has chosen the latter option.  I can‘t even begin to pretend to understand his growth as a guitarist over the last two years, I can only say that it’s probably the result of a lot of practice and self-observation. And I also think his resume of guest appearances at Buffalo shows with out of town artists like Turkauz and Dopapod are a reflection of his pristine musicianship being recognized by his peers.  His sound is distinctly Gantzer and clearly his peers want to create something unique with him. 

Now, let me take a minute to talk about the silent magic of Aqueous: Dave Loss.  Dave does something that I think is the cornerstone of a successful band.  He is a selfless partner to Mike.  He creates a euphoric backdrop via both rhythm guitar and keys to which Mike positions most of the lead guitar over. If you think about it, Dave is often doing two jobs at once.  His snyth and keys work is so perfectly placed.  Sometimes it’s spacy, sometimes it’s funky, sometimes it’s groovy but it’s always spot on.  At Buffalove, a friend and local musician pointed out to me that Dave seems to be the force behind the majority of Aqueous’ orchestration.  And in some respects, I agree.  But the fact that it took someone else to bring that fact to light is a testament to Dave’s musical character.  When you have a lead guitarist that can shoot fire the way Mike does, you can either try to upstage him or you can lay a brilliant groundwork for him to showcase on.  Building that groundwork isn’t easy.  And it takes a musician with an epic skillset that can check his ego at the door to do that.  That’s why Aqueous music doesn’t sound pretentious.  It’s more than a brotherhood, it’s a family.  Sometimes, using your talent to help someone else achieve their maximum potential is far more rewarding than any spotlight or acclaim.  But with that statement, I don’t think I’m telling Dave anything he doesn’t already know. 

As musicians, I would venture to say that Aqueous is as good on a technical and songwriting level as any up and coming band on the jam scene.  Most people know that I have spent that last three years with my head in a Twiddle/Jimkata daze.  To say that Aqueous is giving those bands a run for their money, at least in my musical top five, is an understatement.  In talking to friends about Halloween plans, while many are raving about the Dead & Company at MSG or TAB, I’m shrugging my shoulder saying “Two Night of Aqueous at home, sounds perfect!”  Why leave home, when you can get what you need less than three miles from your front door.

There is a technical level of skill that these guys showcase that is done with such joy and grace, I think it goes slightly unnoticed.  They play with a humble confidence that is backed by the music.  And as they continue to grow as a band under the watchful eye of their manager Josh Holtzman (who is clearly steering them in the right directions), I am eager to see exactly where this band goes.  My only criticism, which is really more of a hopeful suggestion, is my desire to see these guys get a lighting set up that can playfully but tactfully light their unique musical vision. 

But while I still can, I will continue to see Aqueous from my fan girl haze. I look forward to the day when I have the privilege of watching them headline Canalside.  A homecoming of sorts as they play “Skyway” under the skyway as the sun sets while the distinct aroma of Cheerios fill the air.  That is my fan girl fantasy.  And when my fantasy is dashed by the hordes of 20 somethings shoving their way to the rail in my place, I will recede with the same grace and sweetness that Aqueous presents their sound. Something tells me the day is closer than I can possible imagine. 

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