In the mid-'90s there were lots of bands in America doing what Sleepyhead did, making slacker pop with scrappy hooks, bummer lyrics, and scuffed-up guitars. There weren't many who did it with the charm of the New York trio; not many who had the magic combination of great songs, well-produced sound, and a vocalist, Chris O’Rourke, with distinct personality. Sleepyhead hit their peak in 1994-1995 when they were with Homestead. They released two albums, Starduster and Communist Love Songs, each memorable enough that, over 20 years later, they were reissued as a two-LP set by Drawing Room Records under the name Future Exhibit Goes Here. Originally released in 1994, Starduster is a little rougher around the edges and punky, especially with the romping "Punk Rock City U.S.A." as its centerpiece. Elsewhere, Sleepyhead delve into shoegaze a little, blend in some AOR strut, deliver the jangling indie rock anthem "What's Gonna Set You Free?," and generally put their influences together into a sound that was unique to them. Whether rocking out frantically (like on the title track sung with abandon by drummer Rachael McNally) or slowing to a narcotic crawl on the thought-provoking ballad "Sick of Heaven" (which features some white-hot guitar soloing from O'Rourke), the band sounds assured and powerful. Arriving in 1995, Communist Love Songs is less raucous and features a cleaner, crisper sound. The band adds organ to the mix, strips away some of the guitar noise, and takes one step toward the indie rock mainstream, all of which could have added up to a negative sum if the songs and performances weren't as strong as they are. Sleepyhead's harnessing of their wildness leads to a more power-packed sound; the songs still have whopping big hooks; and McNally takes a larger role vocally. Her interplay with O'Rourke on songs like "The Coronation" and the title track is a welcome development. The record is lacking the big "hits" of Starduster, but it holds together better as a coherent listening experience and is one of the better under-the-radar gems of the slacker era. Drawing Room gives these two excellent albums the deluxe treatment, complete with a booklet of bassist/filmmaker (Half-Cocked) Michael Galinsky's black-and-white tour photos, and fans of classic indie rock should be sure to check them out, whether for nostalgic purposes or for the very first time.