One of best band names I’ve ever heard, No Showers On Vacation of Burlington, Vermont, recently put out their second pandemic release titled Aquaband which “…seeks to provide the listener with an unforgettable experience of subaqueous funk while incorporating a diverse selection of musical styles into ten instrumental tracks.” Band members include Emmett Lurssen (guitars), Alden Nichols (keys), Pat Maley (saxophone) and Sam Lyons (drums).
Stylistically the band cites Phish, jazz-funk and J Dilla as influences, and say their music incorporates styles including funk, jazz, hip hop, rock and samba. “We are a live performance-based jam band, so these songs will have extended improvised sections in a live setting.” Yet again I’m amazed to discover this full band-sounding album was recorded remotely with each instrument tracked and mixed separately on GarageBand and Logic. Mastering was performed by Lurssen Mastering. “Chestnut” opens the album with uptempo jazzy piano and busy triple-time percussion, upon which the other players join in. It’s clear from the first note that these guys are pros who handle their axes as easily as they breathe. Guitar and keys both take short, impressive solos. “Space Trash” is a funky construction featuring sweet and blue minor-key melodies. “Chonk” starts with especially nice guitar runs, then settles into a somewhat spooky rock-based keyboard improvisation, including a quote from the “wheels on the bus” nursery rhyme. Bass and drums don’t lock in quite as perfectly here, but that’s a nitpick. “Powdered Milk” centers on a Keith Emerson-like Hammond patch over a percolating funk riff. “Key” starts in fast funk mode but then changes into one of the nicest melodies on the album - almost jangly folk rock - then concludes in fast prog-rock time. “Uranium Rain” centers on Pat Maley’s stellar sax playing and uses those famous descending chords from Cream’s “I’m So Glad” and many other songs. “Theme” is indeed a catchy theme where the chords are literally made to “melt” by some kind of electronic sorcery. “Amtrakk,” as corny as it might seem, has the steady rhythm of a steam train with happy melodies evoking the glorious views rushing by a passenger train window; one of my favorites. “Gold” ends the album on progressive rock footing, with crunchy lead guitars and ersatz horns, a Moog-like solo and a glorious full-band conclusion. These guys play great, and this is an excellent collection. Full disclosure: I first heard this album while parked on a scary downtown street late at night, and the music was a perfect fit for the glowing traffic lights, scary night walkers and suspicious police cruisers. I may have lost five pounds just bopping around in my front seat!
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