Caroline Smith Album Release Show
Max Jury, Sleepy Kitty
330 E. Washington St.
Iowa City, IA, 52240
Doors 8:00 PM / Show 9:00 PM (event ends at 2:00 AM)
This event is 19 and over
Caroline Smith & The Goodnight Sleeps
Since her arrival in Minneapolis during the fall of 2006 as an 18-year-old, singer/songwriter, Caroline Smith has become a celebrated part of the Midwest artist community.
Her career began as a solo artist with a residency at Minneapolis' 400 Bar, a once reputable venue pivotal in shaping the careers of Elliott Smith, Conor Oberst, and local hero, Mason Jennings who less than a decade before began his own career with the same residency. Here she developed an independent sound which continues to be characterized by simple chord structures supporting sweet pop vocal melodies. Most recognizable in her music and the defining quality to her success is her alto singing voice quivering through vibrato, classic and controlled with the presence of Billie Holiday, Leslie Feist, and Joanna Newsom.
In 2007, Smith befriended drummer Arlen Peiffer (Cloud Cult), bassist Jesse Schuster, and multi-instrumentalist David Earl and the boys joined forces to support Caroline's folk tunes as the Good Night Sleeps.
In August of 2008, Caroline Smith and the Good Night Sleeps released their debut full length, "Backyard Tent Set", recorded at the Devil's Workshop in Minneapolis with Chad Weis (Mason Jennings, Ben Kweller). The prominent sound is of gentle folk instrumentation- acoustic guitar, banjo, piano, glockenspiel while Caroline's singing floats above in innocent and playful imagery and catchy pop hooks. This independently released LP has made major waves online, on air, and on tour. Seven national tours and a constant circuit through the Midwest has garnered a committed following of audiences around the US.
In 2010, in celebration of several years of successful touring, Caroline and Good Night Sleeps bassist Jesse Schuster recorded a CD of live duo arrangements rooted in folk tradition. The limited edition "Live at the Cedar" was met with enthusiastic acclaim from fans around the states, and within 6 months of its release the disc was completely sold out.
Most recently, Caroline Smith and company have completed tracking a new full length entitled "Little Wind" at the Terrarium in Minneapolis with Jason Orris (Polara, Happy Apple, Haley Bonar). The record, mixed by Tom Herbers (Low, Dark Dark Dark, Andrew Bird), expands upon Backyard Tent Set's story-telling whimsy, but shifts its foundation from the simplicities of folk to greater nuances of musical arrangement and soundscape rooted in modern indie rock. Loyal to the heart of Smith's sound, Caroline's unforgettable and endearing pop melodies remain the proudest strength of the record. The record will find itself in your CD player on September 20th.
Sleepy Kitty is more than a band: it's an all-in multi-media artistic collaboration. After spending the '90s drumming in Harvey Danger (London/Polygram), and the '00s in Chicago's Bound Stems(Flameshovel), Sult heard Brubeck's voice in her band, Stiletto Attack, and couldn't shake it. Strictly for fun, they started mashing weird sound experiments into their natural pop instincts, and quickly had a batch of art-cracked, catchy songs. At the same time, they were designing and printing t-shirts and rock posters together. They called it all Sleepy Kitty—and they now run both their band and their print shop out of a formerly abandoned brewery on St. Louis's Cherokee Street, which has since become the city's unofficial printers' row (you can check out their print work at sleepykittyarts.com). After two self-released EPs—Hustlin' Kets (2007) and What I Learned This Summer (2009)—and some great opening slots for the Dresden Dolls, Chuck Berry, and Margot & the Nuclear So and So's, Sleepy Kitty caught the ear of Euclid Records' Joe Schwab. The band's live show is a whirlwind: Brubeck loops her vocals live, crafting walls of girl-group harmonies above the tube-driven blast of her vintage Super Reverb. Sult plays at the edge of the stage with her—when he can contain himself to his drum throne. Infinity City transmits the power of their live show but reveals their canny control of pop architecture: "Gimme a Chantz!" opens with a theatrical flourish before bounding into a crowd of surging '90s-era harmonies; garage-cranked "Speaking Politely" makes way for the delicately observed details of city-breakup ode "NYC Really Has It All," and the Velvets/Fab Four mash note "Seventeen" revels in their influences.
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