The haunting and enchanting vocals of Carolyn Berk could serve to be the linchpin to most any band’s success, and it’s easy to see her unforced song finding a home in most any pop subgenre. However, the precision synth-programming of Kerby Ferris and tight splash of percussionist Emily Kingan thoroughly wraps together in a splendidly original triumvirate of driving and melancholic pop serving as one of 2010’s choicest releases.
Berk’s earnest and seemingly effortless lyrical prowess couples brilliantly with a series of glitching robotic base riffs that teeter between organic and futuristic, Utopic and post-apocalyptic, hopelessly curt and unforcibly nonchelant. Berk never traps herself in the desperate and disparate croonings like so many other area songwriters.
Opening Dark Light is the track “Barnacle” with soft pulsing clicks, emerging snare cracks and is intervened with Berk’s subtly country-tinged vocals.”Every time the music starts/I can feel my achin’ shakin’ heart.” On paper, these lyrics might be likened to something from Billy Ray Cyrus, but in the arena of the song’s full atmosphere, the simplicity and honesty of what she says is placed in a multi-sensory experience that summates to more than anything penned or practiced. The weighted simple notions and turns of phrases are ever-present on the album. On “Peppermint” a sticking lyric warns “You sent your heart out in the graveyard/Go get your heart from the great beyond.” Dark Light, as a whole, offers idioms of emotionality without being emo or contrived. In fact, Berk’s storytelling manages to avoid preaching or being condescending to its audience. The workings of this three-piece blossoms in so many ways beyond words. Listening is a must, so get to it.