“Changing Modes Bring Their Kinetic, Intense, Wickedly Tuneful Art-Rock to SpectrumArt-rock band Changing Modes play some of the catchiest songs of any current New York band, plus they’re a lot of fun to watch. Part of that is because their musicianship is on such a high level, on par with a jazz or classical group. In the past, they’ve had as many as three keyboardists. The latest edition of the band has bandleader Wendy Griffiths sharing lead vocals with co-keyboardist Grace Pulliam while Yuzuru Sadashige switches between guitar and bass over drummer Timur Yusef’s undulating, shapeshifting groove. The album release for their new one, Traveling Light, at Bowery Electric last month was one of the best shows of the year. They’ve got another gig coming up at Spectrum, the sonically delicious, comfortable Ludlow Street space on August 23 at 9 PM for $15.At the Bowery Electric gig, just when it seemed that Griffiths was going to be playing all the elegant, plaintive, classically-tinged piano lines and Pulliam was in charge of supplying an endlessly kaleidoscopic series of synth and organ textures (and synth bass when Sadashige played guitar) , the two would switch roles. On several songs, Griffiths emerged from behind her keys to play bass, bopping animatedly along with Yusef’s irrepressible drive. He and Pulliam were all smiles; Sadashige seemed to be the calm center of the storm while Griffiths played the role of mystery girl, deadpan and serious in contrast to her animated vocals and harmonies with Pulliam.Guest Vincent Corrigan took a handful of cameos on vocals, on a duet of the briskly pulsing, sardonic breakup narrative Red and then Ship, a swaying disaster tale, which he brought to a climax with a long bellow worthy of Bruce Dickinson, or David Lee Roth for that matter. That contrasted with his stately, expressive crooning on the chamber pop piano ballad Sycamore Landing.What was most striking about the show was that some of the strongest songs in the set weren’t from the new album. Too Far Gone, with its clave beat and Police-like hooks, turned into a springboard for savage tremolo-picking, eerily dancing postpunk riffs and bluesmetal spirals from Sadashige. And Shangri-La juxtaposed chromatically-charged X guitar riffage and a menacingly cinematic guitar/keys interlude with a telling Leonard Cohen reference. The songs from the album were just as memorable: the apocalyptic, Rasputina-esque piano-pop opening track, Dinosaur; the slyly feline narrative Jeanine; an understatedly creepy take of the darkly enigmatic, rhythmically shifting In June and Fly, a bitter, even creepier escape anthem.”
“Changing Modes: Hard to Figure Out, Easy to Sing Along to at Spike HillIsn’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 drummer Timur 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.”
“An Unpredictably Fun Album Release Show by Changing Modes
It’s hard to imagine a New York band that has as much fun onstage as Changing Modes. Or a band anywhere who can negotiate the endlessly tricky metrics and serpentine twists and turns of their artsy, often new wave-tinged songs as tightly as they do. At their album release show for their new one, Goodbye Theodora at Webster Hall this past weekend, everybody in the band except for drummer Timur Yusef switched instruments.
Singer Wendy Griffiths is the best keyboardist in the band, but she played the better part of the set on bass – as it turns out, she’s also their most nimble bass player. Co-frontwoman Grace Pulliam is a guitarist, but she played keys and bass synth. Guitarist Yuzuru Sadashige took over bass duties early on and ended the show on keys. As usual, Griffiths and Pulliam took turns on lead vocals, often in the same song, Pulliam’s soul-infused lower register blending with Griffiths’ crisp, crystalline soprano for some unselfconsciously spine-tingling moments and some that were a lot more devious. Griffiths worked the mystery angle; everybody else in the band was pretty much grinning from ear to ear for the duration of the show. They’re bringing their multi-instrumental prowess, good cheer and darkly lyrical songs to the one-year anniversary celebration at the Muse Brooklyn at 350 Moffatt St. in Bushwick tonight, April 2 at 7:30 PM. Cover is $15; take the L to Wilson Ave.
It takes nerve to open with an instrumental, but that’s what Changing Modes did, tackling the creepy, futuristic tumbles and swells of 2-1/2 Minutes to Midnight without breaking a sweat. They kept the enigmatic, surreal atmosphere going with a swaying take of Mind Palace, the first of the tracks from the new album and followed with the sly noir swing romp Amanda’s House, which sounds suspiciously like a song somebody with that name might write.
Sadashige fired off some evil noiserock in between Pulliam and Griffiths’ vocal handoffs in Red, followed by the macabre, lingering anthem Arizona, the night’s best song. Fueled by Sadashige’s searing solo, they growled through the postapocalyptic allusions of Door, then had fun with Sharkbird, the night’s monster surf-tinged second instrumental.
After the uneasy dynamic shifts of Firestorm, they lightened the mood with Pulliam singing an Amy Winehouse-esque cover of Elle King’s Ex’s & Oh’s, and later elevated Radiohead’s Karma Police toward late Beatles grandeur. Too Far Gone – a co-write with their indie classical composer pal Denise Mei Yan Hofmann – made a detour back to grimly anthemic territory. They wound up the set with the poppy, bouncy Vital Signs and the woozy, fuzzy, older new wave song Pretty Vacant, which is nothing like the Sex Pistols. Changing Modes have a deep back catalog, seven albums worth of songs just as eclectic and unpredictably fun as these.