Artist

Soft Science

Genre: Alt / Indie ,Noise Pop ,Indie Pop ,Shoegaze ,Indie Rock
Origin: U.S.A
Listen on Coda
Merging affectionate noise pop with driving indie rock and shoegaze textures, Soft Science unites six veterans drawn from California's independent music community, among them alumni of Holiday Flyer, the California Oranges, and English Singles. Fronted by Katie Haley's gossamer vocals, the group issued its debut full-length, Highs and Lows, in 2011. The 2014 follow-up Detour continued exploring jangle and noise-pop territory, while 2023's Lines gradually incorporated thicker metallic shimmer and additional harmony vocals across the band's characteristically giddy yet bittersweet songs about relationships.

Katie Haley, previously of Holiday Flyer and the California Oranges, joined forces in 2009 with brothers Matt and Ross Levine—both formerly of Welt, the Tank, and the California Oranges—to establish Soft Science. After signing with Sacramento's Test Pattern Records and recruiting bassist Mason DeMusey of Forever Goldrush, the quartet recorded its first album, Highs and Lows, with Haley on lead vocals, Matt Levine on guitars, and Ross Levine on drums. That release presented their blend of bittersweet jangle pop and distortion-laden noise pop in a comparatively streamlined arrangement. The same lineup returned for Detour, though Ross Levine added keyboards and electronic artist Hans Munz contributed additional processing and synthesis. A 2015 split single with the Luxembourg Signal appeared on Test Pattern as well.

By the time of Maps in 2018, Ross Levine had shifted to synths, Tony Cale of English Singles and Arts & Leisure had joined on drums, and Munz had become an official member handling electronics; the expanded ensemble pushed further into shimmering sonic territory under the production guidance of Ross Levine and Cale. The quartet's fourth album, Lines, emerged in 2023 on Shelflife, marking an even denser and more opaque evolution while introducing bassist Becky Cale of Arts & Leisure—partner of Tony Cale—and marking the first recording without DeMusey.