Listening to Nicole Berke\u2019s Frondescence <\/i>EP brings back memories of Lillith Fair and the female singer\/songwriter movement of the 1990s.<\/p>\n
But instead of just another woman with an acoustic guitar, Berke and the two guys who back her use bass, drums and organs to achieve an interesting and vital sound. Berke herself sings and plays a Wurlitzer \u2013 not the everyday instrument of choice for young women, as far as I know, but an excellent way to distinguish her.<\/p>\n
Berke finished this disc in February 2008, the second of what will hopefully turn into a full-length release soon. Thanks to having two musicians for parents, Berke is trained in classical music but has an ear for pop, giving this EP the feel of a modern jazz release as seen by Fiona Apple.<\/p>\n
Opener \u201cCome On\u201d locks into a soulful groove with a twist as the Wurlitzer plays an ascending six-note riff that subtly propels the song. \u201cReasons\u201d is less successful, a showcase for Berke\u2019s high vocals (which are sporadically double-tracked for no apparent reason, as her voice is good enough to be unaccompanied).<\/p>\n
\u201cBlind Dumb & Deaf\u201d is a fun little ditty, a story song sung effortlessly and handled with jazz drum aplomb by Rory O\u2019Connor, who also plays organ. Jesse Cafiero handles the acoustic bass (and Berke\u2019s press) nicely; he and Berke teamed up in 2005 at the The two are now playing open mics in the Closing out this disc and incorporating all that\u2019s right about it is the title track, which boasts a slight Radiohead influence but remains upbeat even as the music swells behind Berke\u2019s voice, with her singing louder and louder until the slow fadeout. It\u2019s enough to make one want more and to distinguish Berke as a musician to watch \u2013 a distinction she has had in the