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

Stephanie 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

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.

Anthony Worden and the Illiterati Voilá ANTHONYWORDEN.BANDCAMP.COM Anthony Worden and the Illiterati Album Release Party w/ Jack Lion, Purple Frank, Gabe’s, Iowa City, Friday, Feb. 28, 9:30 p.m., $8 V oilá, the latest from Iowa City band Anthony Worden and the Illiterati, is a record both timeless and out of time, drawing inspiration from an earlier era when bands focused not just on songwriting but creating an album as a full artistic statement. Voilá clearly has two distinct sides, even though there aren’t current plans to release it on vinyl. Side one is the higher-energy rockers; starting at track six, side two wraps the album up with a spin through folky pop with a Laurel Canyon vibe.

A highlight from the rockers is the first single from the album, “Slightest Notion,” an honestly perfect execution of ’70s bouncy British guitar pop from the likes of Elvis Costello or Nick Lowe. The melody is carried equally by organ, guitar and vocals, and the smart use of Elly Hofmaier as a kind of second chorus really nails the sunny spirit of the song. 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 a walk, but I didn’t get so far. Took a chance at the next open bar. Cost me more than I could ever be worth.”

It’s the last song on the album that highlights the band’s ace-inthe-hole. “Dime A Dozen Dudes” is a playful bit of soul that pays tribute to Jennifer Herrema of the legendary garage punk outfit Royal Trux. I asked Worden about the line, “Marshall amp on a skateboard, never could be ignored.” It references the story about Herrema taking her amp to CBGB’s on a skateboard.

“I think she properly subverted the dude rock and roll cliche,” he said.

Appropriate, then, that Hofmaier (who also performs solo around the area as Penny Peach, Jr.) steps into the limelight on this song, singing the chorus and duetting with Worden. The best moment of the track is at the end, when she belts a solo reminiscent of Merry Clayton on the Rolling Stones song “Gimme Shelter” or Clare Torry on Pink Floyd’s “Great Gig in the Sky.” This song promises to be a showstopper live.

Every band that sets out to make an album is presented with the nerve-wracking challenge of sequencing the songs. Do you want to tell a story? How do you get the smoothest transitions? Where do you put the single? That thoughtful effort paid off in spades with Voilá, a record that rewards listening to it in full, and often.

—Michael Roeder SIDE ONE IS THE HIGHERENERGY ROCKERS; SIDE TWO WRA PS THE ALBUM UP WITH A SPIN THROUGH FOLKY POP.

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