On line with streamline

"We’re in variety so we play all kinds of tunes," says Oliver Mata, furiously puffing on a Marlboro red. "Some would see this as a safe routine, but it wasn’t intended. Each one of us has our own musical influences kasi, so we just decided to bring it all together. I guess it adds to our depth."

Indeed, Streamline is more than just the average group–at least image-wise. The quartet–Joey Arnaiz, Joel Gana and Rami Martinez in addition to Oliver–casually loiters around the bar as they patiently wait for their set to begin. It’s only their second show in the upscale nightspot as a regular, and the calm is puzzling.

Joey, long-haired and nimble, yaks with Joel about how pathetic 98 Degrees are ("even for a boyband"); Ram half-listens to the mindless chatter silently, almost dolefully. It’s only when Joey changes the topic from trashy tunes to gasoline prices that he offers his two cents: "Kaya mas makakatipid ka pa kung mag-commute ka, eh," he ventures. Oliver, meanwhile, his back to the other three, thumbs through the song list and lights a fresh cigarette.

"There’s a different energy we get when we’re in front of an audience," he says. "And it doesn’t matter what we sing as long we can connect to them."

Looking at their cued school-boy antics, it seems as though Streamline bonded together because of the free time they had before a show. The boys would be joking around or maybe thinking of a new hairstyle. But whatever it is, you won’t see them cramming to recall a broken chord in the middle-eight or struggling to memorize a line. All signs, ergo, point out that the band is prepared and well-rehearsed–always. And through that, at least, Streamline sets itself apart from the sloppy, happy-go-lucky groups.

Their humor and candor also contribute to their appeal. But most of all, (and more importantly) they know their style inside-out. And even if cynics stubbornly write them off as just another acoustic spin-off with a "shallow uniqueness", the boys are up to the challenge.

Take a closer look and listen to them intently, you’ll realize that all four members are tight, consistent, and talented vocalists–certainly a far cry from the growing breed of subpar artists with pretty faces.

"You need to combine two things to successfully penetrate the music industry," Joey says with a straight face. "Half of it is skill, and half of it is luck. It’s disheartening to see a gifted musician being passed over by a record label for a slow-witted teen, but I guess that’s the way it goes!"

"So that’s why 98 Degrees made it big," Ram quips as everyone enjoys a laugh.

It is a bit odd, however, for Streamline to openly make cracks about boybands when they are largely on the same page. Sure, the quartet might sound better than other "copycats", but there’s no denying that being "variety" classifies them as a "show band"–the local rock fan’s idea of a joke. A sell-out.

Naturally, Oliver disagrees: "I’m a firm believer that good music is still good music, kaya it doesn’t matter what it is, as long as it sounds great."

He adds: "For me kasi, a sell-out is a hack–someone who would play anything just to make money. I think it’s safe to say we’re far from being that, right?"

Well, yes and no, actually. While it may be true that Streamline, even during its early days, had intended to stick to their roots as advocates of rock music, it didn’t last when they started getting bookings for gigs. Granted that the group is still a long way from success, it’s almost as if they already let themselves become portrayed as willing victims of mainstream OPM pop.

To date, Streamline’s repertoire consists of some of the most overplayed and cheesiest hits of the last twenty years, including Duncan Shiek’s Barely Breathing, Vic Sotto’s Ipagpatawad Mo, Extreme‘s More Than Words, Stephen Speaks’ Passenger Seat, The New Radicals’ Someday We‘ll Know, Five for Fighting‘s Superman, and Cyndi Lauper’s Time After Time.

Listening to those songs at random is enough to put even the worst insomniac to sleep. Joel smiles at the thought.

But sell-out or not, it is widely accepted that Streamline can definitely carry a mean tune in various musical genres (except rap, hip-hop, and contemporary jazz). And this is most evident in their live shows.

"We are all very diverse in our preferences," Joel reveals. "And between the four of us, you’ll see that we have a thing for everything."

"Yes, that’s true," Joey agrees. "The individuality towards our musical tastes gives us a better appreciation of every aspect in the fields of pop, alternative, and even soul."

"And we listen to everything: From Sting to VST & Company, from Panthera and Alice in Chains to Christian rock. Heck, even Ram listens to Christina Aguilera," he laughs as Ram pokes him in the ribs with an elbow.

In any case, if we take their word for it, then it’s obvious to see how they became all-around acoustic performers. Although they have their share of vices in cigarettes and alcohol (and thus receiving constant tongue-lashings from manager Maricris Delgado), it still never seems to affect their singing.

For strictly as a vocal group, Streamline is a superior one. The accomplished tones, mixed with their melodious four-part harmonies, are a treat for fans of the genre. It is a well-known fact that the truly great ones make the hardest things look effortless. And the boys can toast to that. For when they’re up on stage under those hot klieg lights, the foursome still refuses to look stern.

Instead, you’ll see them frequently smiling and nodding at each other, at the same time swaying to the beat. It’s like they’re just having fun. And some say that if it weren’t for their abilities to command the audience’s respect, Streamline could be seen as just another set of careless entertainers who never take anything seriously. And that can either be a compliment, a jab, or both, depending on how you look at it.

In any case, the band should be thankful for its talent. Although still lacking in showmanship, their covers such as The Barenaked Ladies’ It’s All Been Done or something more technical like Clapton’s Change The World sound terrific. And if they can play Ed McCain’s I’ll Be–hands down the most overplayed tune in the country today–and still make it sound fresh, then they really have something going.

"We are hoping to put out an album soon, and we’re all really excited for it to happen na talaga! Wow! Finally!" Oliver reveals, as the others head towards the bar’s stage to sing their hearts out for the thin crowd. "Of course, we still like live gigs a lot better," he shrugs.