Based in Bloomington Indiana, Sleeping Bag began as Dave Segedy's solo drum project (then called "Whoa Bro Awesome"). Segedy started flirting with melody and was joined by Lewis Rogers on guitar and David Woodruff on bass, two front-men singers in their own right. Dave Segedy remains the group's songwriter and primary vocalist. Yes, the drummer writes and sings all the songs, imagine that!
snack rock, sex ed, "lol"-fi
Bands have been experimenting with punctuation for some time now, but they always seem to go for the easy exclamation mark. I much prefer Shark?'s approach to punctuation. Do we rock? Do we not? Let's leave it open ended, shall we?
Anyway, Shark? is a very nice fuzzy lo-fi band that make short, concise songs that, yes, rock. The singer also does a little Ian Curtis thing, if you're into those low vocals. Although Shark?'s (man, that's hard to write) music is much more snappy and happy than Joy(less) Division ever was.
Think of this music as optimistic garage with a little bit of new wave weirdness (courtesy of a synth) going on. Shark? lists some of their influences as Pavement, Talking Heads, Dinosaur Jr and Guided by Voices. So if you like any of those bands, you, along with 95% of the indie-rock population, would do well to give Shark? a try. They're definitely an enjoyable listen. No question about it.
Plates Of Cake
"On their debut record for the quietly consistent All Hands Electric label, Plates of Cake stake their claim in the guitar-pop arena. The melodies are tight and swelling with a quiet tension, the guitars shimmer and quake and the rhythm section subtly pushes it all along. The band also shows an impressive range, from the bright, nearly-twee pop of "Living Winter" to the propulsive rock of "Emil the Soldier" to the deathly, Cohen-esque waltz of "This Way; Not Some Other Way". With their breadth of pop styles and their tight execution, the band puts forth an admirable set on this record. How deep you delve into this short album, however, depends on how you take vocalist Jonathan Byerley. His deep, hushed voice—part smoky growl, part winking croon—can sometimes feel a little too planned-out, a little too knowing, so that he doesn't seem fully immersed in the song. He does snap out of it for the strong chorus on 'Emil the Soldier'. As the songs slow and stretch out towards the end of the record his voice wanders, and the further he drifts, the more emotive and less smirking he seems to get. It's those moments that resonate the most and rise out of an impressively diverse set of songs to stick with you." - Pop Matters