Changing Modes: Hard to Figure Out, Easy to Sing Along to at Spike Hill
Isn’t it a pain to have to choose between two equally tantalizing shows? Saturday night, it was impossible to resist the temptation to sneak away from the Brooklyn What’s album release gig at Public Assembly while the opening acts played, since Changing Modes were on the bill around the corner at Spike Hill. With two keyboardists, guitar, bass and drums, their music is complex yet manages to be extremely catchy. Frontwomen Wendy Griffiths and Grace Pulliam both play synthesizers, and while they aren’t above hamming it up once in awhile with a woozy oscillation or a fat phony horn patch, their sound isn’t cheesy. As much as what they do has a very 80s feel, their sense of that decade’s sounds zeros in toward dark, often menacing new wave rather than cliched radio pop.
To say that this band has an edge is an understatement Throughout the set, the two women worked an inscrutably alluring, sometimes dangerous vein. Pulliam swayed with just the hint of what might have been a sadistic smile as she fine-tuned her pedalboard for minute orchestral adjustments, while Griffiths pogoed behind her keys, at one point emerging to put her foot up on a monitor and fix a thousand-yard stare on the crowd. But she also has a quirky sense of humor: at one point, she let out a random “whoop” seemingly just for the hell of it, later on putting on a pair of red shades with blinking lights, only to discard them seconds afterward. Meanwhile, Yuzuru Sadashige played nimble basslines for a couple of songs before switching to guitar, at which point a bassist came onstage to team up with their tight drummerTimur Yusef.
Unexpected tempo changes, loud/soft dynamic shifts and unpredictable song structures met their match in singalong choruses, Griffiths and Pulliam trading off verses or individual lines when they weren’t blending their voices for some soaring harmonies. Pulliam sang Down to You, a standout track from the band’s latest album In Flight, with a cold vengefulness, Sashadige cutting loose with a searing bluesiness as he would do all night, Griffiths adding a terse classically-tinged piano solo. A wickedly catchy, insistent new song, Jeanine (sp?) might have been about a cat, or someone with feline tendencies. The album version of Ghost in the Backseat is a dead ringer for early X, but this time out they slowed it down, making it more gothic than punk, at least until another blazing Sashadige guitar solo.
They followed a burning, ominously riff-driven cover of Jamiroquai’s Deeper Underground with a slow, creepy, watery art-rock anthem, an apprehensive new wave tune with an Afrobeat-flavored guitar intro and then a creepy version of Here, the darkly unpredictable title track from their 2010 album. They closed with what might have been a cover, Griffiths and Pulliam harmonizing energetically over a catchy new wave beat. Although the turnout was good and the crowd was into the show, a band this smart and original deserves more exposure. Somewhere there has to be an indie suspense movie that would be a perfect match for Changing Modes’ eclectic, moody yet upbeat songs.