Live Review: The Softlightes
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Artist:
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Album:Say No to Being Cool, Say Yes to Being Happy
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Track:
The Softlightes / The Changes / Dead Ponies
Silverlake LoungeLos angeles, CA
The divebar-like atmosphere of Silverlake Lounge, a.k.a. The Fold, is conducive to host basically any kind of genre, from grungy heavy metal to artful indie-rock. However, with The Changes, Dead Ponies and The Softlightes — all up-and-comers in their own rite — The Fold experienced a disparate array of musical ups and downs.
Opener The Changes, an indie rock outfit from Chicago, lived up to their hype with highly adept instrumental skill. A jazzier version of Tokyo Police Club crossed with The Killers, they had dancey bass to spare and '80s-influenced synth. Vocally, The Changes had some weak spots (they sound much cleaner on their recorded tracks), but all in all were the only band able to get people dancing.
Dead Ponies should have been the opening band in that, during their set, the majority of the crowd coincidentally took a smoking break. Their System of a Down antics were unwisely placed in between the soft orchestrations of The Changes and The Softlightes. With abrasive, uncoordinated music that had dramatic buildups to amateur guitar solos, the band drew in a few metal heads that looked like they had just stepped out of Bill and Ted's Excellent Adventure. Dead Ponies might have had a better chance at a biker bar as opposed to a Silverlake dive swarming with indie kids who like to talk about feelings.
Luckily, The Softlightes made for an incredible end to the night. They introduced a film major aesthetic to their presentation — complete with projected videos synched to their music, which were carefully orchestrated and seemingly straight out of a Michel Gondry film. The band's sound was a mix of Imogen Heap-inspired electro beats and soft Submarines-reminiscent rock that culminated into a jazzy Architecture in Helsinki sound. All of The Softlightes' music happily bounced along and was nicely divvied between each member of the band. Singer Ron Fountenberry had an interesting voice reminiscent of Keith Slettedahl of fellow Los Angeles band The 88. Keyboardist Jeff Hibshman's piano accompaniment was nothing short of gorgeous and greatly contributed happy riffs and synth to their Postal Service-like sound. Bassist Kristian Dunn took the bass lines for catchy little walks and was an enigmatic presence on stage. Proving to be not only musically pleasing, but also visually stimulating, The Softlightes saved the night from mediocrity.
-Jen Tartaglione for Performer Magazine
Silverlake LoungeLos angeles, CA
The divebar-like atmosphere of Silverlake Lounge, a.k.a. The Fold, is conducive to host basically any kind of genre, from grungy heavy metal to artful indie-rock. However, with The Changes, Dead Ponies and The Softlightes — all up-and-comers in their own rite — The Fold experienced a disparate array of musical ups and downs.
Opener The Changes, an indie rock outfit from Chicago, lived up to their hype with highly adept instrumental skill. A jazzier version of Tokyo Police Club crossed with The Killers, they had dancey bass to spare and '80s-influenced synth. Vocally, The Changes had some weak spots (they sound much cleaner on their recorded tracks), but all in all were the only band able to get people dancing.
Dead Ponies should have been the opening band in that, during their set, the majority of the crowd coincidentally took a smoking break. Their System of a Down antics were unwisely placed in between the soft orchestrations of The Changes and The Softlightes. With abrasive, uncoordinated music that had dramatic buildups to amateur guitar solos, the band drew in a few metal heads that looked like they had just stepped out of Bill and Ted's Excellent Adventure. Dead Ponies might have had a better chance at a biker bar as opposed to a Silverlake dive swarming with indie kids who like to talk about feelings.
Luckily, The Softlightes made for an incredible end to the night. They introduced a film major aesthetic to their presentation — complete with projected videos synched to their music, which were carefully orchestrated and seemingly straight out of a Michel Gondry film. The band's sound was a mix of Imogen Heap-inspired electro beats and soft Submarines-reminiscent rock that culminated into a jazzy Architecture in Helsinki sound. All of The Softlightes' music happily bounced along and was nicely divvied between each member of the band. Singer Ron Fountenberry had an interesting voice reminiscent of Keith Slettedahl of fellow Los Angeles band The 88. Keyboardist Jeff Hibshman's piano accompaniment was nothing short of gorgeous and greatly contributed happy riffs and synth to their Postal Service-like sound. Bassist Kristian Dunn took the bass lines for catchy little walks and was an enigmatic presence on stage. Proving to be not only musically pleasing, but also visually stimulating, The Softlightes saved the night from mediocrity.
-Jen Tartaglione for Performer Magazine
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