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{"id":29674,"date":"2019-10-16T13:30:48","date_gmt":"2019-10-16T17:30:48","guid":{"rendered":"https:\/\/www.audiofemme.com\/?p=29674"},"modified":"2019-10-14T17:22:32","modified_gmt":"2019-10-14T21:22:32","slug":"playing-the-bay-sleepover-sf-band-ep-review","status":"publish","type":"post","link":"https:\/\/www.audiofemme.com\/playing-the-bay-sleepover-sf-band-ep-review\/","title":{"rendered":"PLAYING THE BAY: Sleepover Balances Musical Influences on New Self-Titled EP"},"content":{"rendered":"

The self-titled debut EP from Bay Area band Sleepover<\/a>\u00a0starts with the kind of intro you would expect to hear on a Best of the ’50s <\/i>compilation album. Take me with you<\/i>, begs lead singer Pakayla Biehn on the cheekily-named \u201cLullabye,\u201d the instrumentals slowly racking up in intensity before diving into a snarling pit of punky menace.<\/p>\n

This is the general sentiment of the EP, which is a fun mix of ’90s grunge, ’70s rock songstress, and modern punk (with a little do-wop thrown in). The ’70s influence is felt most strongly on \u201cNo Place Like Home,\u201d which makes a \u201cCalifornia Dreamin\u2019\u201d reference within the first thirty seconds before slowly building to a killer chord progression that makes me feel like I should be at a tailgate party wearing corded bellbottoms, burning my nose in the sun.<\/p>\n