Aqueduct

Founded in Tulsa’s dusty plains as the solo project of pop aficionado David Terry, Aqueduct crafts punchy, buoyant jams exploding with piano hooks and acerbic wit. One would think that Terry (formerly of Oklahoman lo-fi rock outfit Epperley) had birthed his musical brainchild in a surrealist funhouse full of unforeseen glories — but much like those other like-minded Oklahomans, the Flaming Lips (with whom they have shared the stage), Aqueduct flourished in their rural surroundings for years. That is, until the stagnant atmosphere dampened their spirits and was just, as Terry puts it, “no fun anymore.”

Terry and his arsenal of drum machines, keyboards and song ideas relocated to Seattle in 2003, where friend and multi-instrumentalist Andrew Rudd joined him. A mere 12 hours after Terry’s arrival in Seattle, Aqueduct was opening for Modest Mouse at The Showbox. As unexpected as it was, Aqueduct was more than ready, having played with The Shins and Mates of State back in Oklahoma. During their first year in Seattle, they would go on to play with Nada Surf, Stars, and The Unicorns.

Industry folks and new fans alike throughout the Pacific Northwest (including Death Cab for Cutie’s Ben Gibbard) raved about the nimble cleverness of Aqueduct’s heartbreaking lyricism and unstoppable piano-laden hooks. Copies of the band’s 2003 self-released, Power Ballads, recorded by Trent Bell at Bell Labs (Flaming Lips, Starlight Mints) were circulated, along with CDRs of new material, to the delight of many new ears--including those at Barsuk.

After months of culling and polishing new and pre-existing material with the help of producer Matt Pence, Aqueduct have completed their forthcoming full-length, I Sold Gold (which includes several re-tooled versions of hits on Power Ballads and will be released January 25, 2005), along with an EP, Pistols at Dawn, which was released October 12, 2004. Barsuk is proud to release these documents of infectious bedroom pop-perfection.

Complete with huge, blown-out drum sounds, treble-cracked percussion, blip-pop synths, campfire pianos, and wicked bass journeys, Terry pours his sometimes silly, sometimes guarded, always genuine heart out in every song. As with his past work, every aspect of song craft begins at home. “It all starts with a bunch of melody, and then I layer it,” he explains, making it all sound deceptively simplistic.

“Who wanna rock with the Aqueduct?” Terry questions on the EP’s closing track. Take a listen and ask yourself that question. Look for the band as they tour into 2005.