LOCAL ALBUMS
Stephanie Catlett Meet Me In the Dream STEPHANIECATLETT.BANDCAMP.COM
Stephanie Catlett + Band w/ Crystal City, Becca Sutlive, Trumpet Blossom Cafe, Iowa City, Friday, Feb. 28, 9 p.m., $7
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tephanie Catlett’s EP Meet Me In the Dream was launched into the world on Dec. 18, 2019. Coming at the end of a year in which the corruption and hatred in the world at large augmented acts of courage and hope at the smaller scale, it is unsurprising that the songs remain suspended between the optimism of an artist inspired to create and a world contextualized by troubles and suffering. The album swims in melancholy, announced by the tender tones of the violin, whose sweetness is balanced by the guitar and Catlett’s voice. The production allows small changes to be heard with great effect: sometimes Suzanne Wedeking’s violin or Sam Drella’s trumpet, sometimes a particular texture from Dana Telsrow’s guitar. Brian Cooper’s drumming allows the different sonic textures to interact gently and gracefully, as Catlett holds the center of each song. Her voice moves from pleasant to interesting within its phrasing, and one suspects that hearing the songs live will only deepen the lovely iteration provided in the album. The lyrics are complex and poignant. The title track, “Ruined Houses,” looks at the difficulty of accepting change
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that has happened when the world contains echoes of what you desire without want. Rather than resignation, the song amplifies a sense of perseverance: “Walking away has never been my strength / But I’ll try today.” There’s a quiet acceptance of reality that allows a sense of forward motion. The celebration of hard-fought stalemates continues throughout. In “So, David,” Catlett offers “... a glass to the prize you never won / To the goodbyes you didn’t say to anyone.” In “Nothing but Fine,” she shows the courage necessary to embrace the space between the overwhelming depression caused by “the news of the day” or “the unbearable knowing of what we have done” and the false solace of a dream “Where we promise this won’t happen next time” and “agree to be nothing but fine.” Although this sounds bleak, Catlett’s voice manages to be worn but warm—tired, tried but resolute. Nothing is easy in Catlett’s world, but nothing remains impossible. The songs less embody than reflect her difficulties, providing a space for both her and for listeners to find inspiration and solace. The quality of this surprise debut collection exposes the depth of talent available in Iowa City—from session musicians like Telsrow, Drella and Dan Padley (all of whom have established themselves as excellent musicians in other spaces) to the excellent work of the busy Luke Tweedy at Flat Black Studios, to the art direction by Mara Cole and Jen Knights. The album shows how a local community exists to nourish dreams into reality. —Daniel Boscaljon Ed. Note: Stephanie Catlett is a former staff member and occasional freelancer for Little Village.
Track six, “What in the World,” works as an effective transition to the more mellow folky side, with foregrounded acoustic guitars and harmonies that recall the Mamas and the Papas. It also serves as a prelude to “Summer Days,” which, true to its name, is on the surface a sunny, Harrisonesque song, but hides a painful recollection of a relationship past. “Took Anthony Worden a walk, but I didn’t get so far. and the Illiterati Took a chance at the next open Voilá bar. Cost me more than I could ever be worth.” ANTHONYWORDEN.BANDCAMP.COM It’s the last song on the album that highlights the band’s ace-inAnthony Worden and the Illiterati the-hole. “Dime A Dozen Dudes” Album Release Party w/ Jack is a playful bit of soul that pays Lion, Purple Frank, Gabe’s, Iowa tribute to Jennifer Herrema of City, Friday, Feb. 28, 9:30 p.m., $8 the legendary garage punk outfit Royal Trux. I asked Worden oilá, the latest from about the line, “Marshall amp Iowa City band Anthony on a skateboard, never could be Worden and the Illiterati, ignored.” It references the story is a record both timeless and out about Herrema taking her amp to of time, drawing inspiration from CBGB’s on a skateboard. an earlier era when bands focused “I think she properly subverted not just on songwriting but crethe dude rock and roll cliche,” he said. SIDE ONE IS THE HIGHERAppropriate, then, ENERGY ROCKERS; SIDE TWO that Hofmaier (who also performs solo WRAPS THE ALBUM UP WITH around the area as A SPIN THROUGH FOLKY POP. Penny Peach, Jr.) steps into the limelight on this song, singing the chorus and duetting ating an album as a full artistic with Worden. The best moment of statement. the track is at the end, when she Voilá clearly has two distinct belts a solo reminiscent of Merry sides, even though there aren’t Clayton on the Rolling Stones current plans to release it on visong “Gimme Shelter” or Clare nyl. Side one is the higher-energy Torry on Pink Floyd’s “Great Gig rockers; starting at track six, side in the Sky.” This song promises to two wraps the album up with a be a showstopper live. spin through folky pop with a Every band that sets out to Laurel Canyon vibe. make an album is presented with A highlight from the rockers the nerve-wracking challenge of is the first single from the album, sequencing the songs. Do you “Slightest Notion,” an honestly want to tell a story? How do you perfect execution of ’70s bouncy get the smoothest transitions? British guitar pop from the likes Where do you put the single? of Elvis Costello or Nick Lowe. That thoughtful effort paid off in The melody is carried equally by spades with Voilá, a record that organ, guitar and vocals, and the rewards listening to it in full, and smart use of Elly Hofmaier as a often. kind of second chorus really nails the sunny spirit of the song. —Michael Roeder
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