I don't think Cake Like's sound is terribly unique. Plenty of indie bands adhere to the fuzzy guitars-slash-sinuous bass-slash- breathily ironic female vocalists formula, but most of them slip beneath the radar of the journalists who cover Cake Like. I'm also pretty certain that you could create a Cake Like-like effect simply by mixing Liz Phair and the Breeders -- both are distinct, if perhaps unintentional reference points for Cake Like. None of that matters, though, because Cake Like churn out consistently entertaining rock-n-roll records as if they'd been born doing it. Goodbye, So What is lighter and more accessible (to non New Yorkers) than Bruiser Queen, though the band's lyrical wit is as sharp as ever. One of Cake Like's secret weapons, I'd say, is the ability to write a killer refrain -- take the irresistably fuzzy "Ashley" (which, ahem, is coincidentally Kerri Kenney's teenage sister's name), for instance, with its chugging polyvocal refrain, and "Swell", its melodic drone of "It was a hell of a time" and pulsing bassline almost Wire-like. I've also got to credit Kerri Kenney, because her distinctively deep voice gives Cake Like a relatively unique sound within the pantheon of estrogen-intensive bands. Goodbye, So What supposedly represents Cake Like's first concerted attempt at deliberate songwriting (as opposed to simply "letting the songs happen" over the course of time), and on the strength thereof I'd say that the Cake Like ladies actually could quit their high-profile day jobs if they ever got the urge.