Bern & the Brights

On record, Bern & The Brights will surprise you as they slide from genre to genre without seeming to break a sweat, but on stage, they will straight up shock you.

Polished, professional and potent, B&tB has blended a seemingly disparate group of musicians with unique backgrounds into an absolute propulsive pop force.

Bernadette — yep, that's Bern — Malavarca's charming pop voice, a sincere kin to No Doubt-era Gwen Stefani, weaves wonderfully into the band's (usually) upbeat melodies, which without pushing too hard against any particular genre-border allows them to pass whimsically through alt country, pop-funk, and even pause for a spell in a darker alt-rock stance — just listen to the urgent "May in N.Y." — without ever abandoning what sets them apart in the New Jersey scene.

When I saw them at their on-and-off Tuesday residency at Hoboken's Northern Soul, the band consisted of Malavarca, a Belleville native, and Catherine McGowan teaming up on vocals and guitars, with Shawn Fafara on bass, and Jose Ulloa on cajon — a Peruvian percussion instrument that looks like a box.

Ulloa, when asked about the choice to abandon a more pop-familiar drum kit, said the percussive decision was made to suit a smaller venue like Northern Soul.

Bern & The Brights are nothing if not sensitive to the shifting subtleties and moods of their music.

In Their DNA
"My mom would listen to Madonna and James Taylor and then I had my dad blasting Jimi Hendrix and Led Zeppelin," McGowan said. "So I sort of had this weird mosh of things where I loved rock but then have a pop-flavored love, too."

McGowan and her band mates come at their music from all angles, and that's one of their strengths — Bern & The Brights sculpt their infinitely replayable songs with loving hands.

And if the melodic-minded McGowan reaches up from her soulful roots, what Ulloa brings to the band is a more technical minded approach not devoid of heart.

He waxed lyrical about his influences, rattling out band names like a drum roll: Tessaract, Soilwork, In Flames, Metallica, Megadeath, Veil of Maya, and Los Angeles-based band Cynic.

When he mentioned that last band, Ulloa, a Piscataway resident, took a beat then talked about Cynic's dynamism, their brutal heaviness, then tied together a connection that, at first, seemed he was reaching between his current band and the progressive rockers.

"What I respect about [Cynic] is they don't care about trends or airplay, they care about the humility that music brings them," Ulloa said. "That's what turned me onto Bernadette when I first heard her songs ... every song has a different texture and story to it sonically."

Bern & The Brights doesn't sound like a band that's reaching for some esoteric "nu-" sound label, they don't sound like anyone but Bern, Catherine, Shawn and Jose.

'Listening to Each Other'
"Whether it's dynamics or tempo, we're very much a band about listening to each other," said McGowan. "We pretty much, mostly write the bulk of our songs separate and when they're closer to being done, then we'll start sharing them."

A sentiment shared by everyone in the band was that, as a unit, they were lucky to have found four musicians so talented and like-minded, but not yet settled on a comfortable sonic vehicle for their creativity.

McGowan said that Ulloa and Malavarca studied music throughout high school, allowing the band to rely on their technical savvy.

But she and Fafara, both of West Milford, didn't have that training. This, McGowan said, allowed the band to "lean more on our creative habits ... it's easy to get hung up on the technical stuff, and that can impede creativity, but some things are easier when you get the mathmatics of it."

Bern & The Brights definitely gets it; they're gotten air play on the soon-to-be-defunct WRXP 101.9, they're Record Store Day stalwarts, and they're always on the road. Check out B&tB's concert calendar here.

If you want to check out the band or pick-up their "Starchild" 7-inch, you can catch Bern & The Brights live next Tuesday at Northern Soul in Hoboken. - Patch.com

Bern & The Brights, an orchestral pop band that mixes violin and guitar into a potent combination of new-wave jangle and gypsy romanticism, were the big winners of the night, named Outstanding Band and taking the coveted People's Choice Award, based on fan votes. - NJ.com / Jim Testa

However, the biggest winners on the night might have been Montclair-based indie outfit Bern & The Brights, who took home two awards for People’s Choice and Outstanding Band. The three-year old ensemble mixes the whimsical sound of a violin with folk-driven electric and acoustic guitars, drums and bass.

“The award feels really authentic in a community way,” said Bernadette Malavarca, lead singer and primary songwriter for the band. “There are a ton of really talented people who are really passionate about music and the arts. We’re glad to be a part of it.” - The Hudson Reporter

However, the biggest winners on the night might have been Montclair-based indie outfit Bern & The Brights, who took home two awards for People’s Choice and Outstanding Band. The three-year old ensemble mixes the whimsical sound of a violin with folk-driven electric and acoustic guitars, drums and bass.

“The award feels really authentic in a community way,” said Bernadette Malavarca, lead singer and primary songwriter for the band. “There are a ton of really talented people who are really passionate about music and the arts. We’re glad to be a part of it.” - The Hudson Reporter

Starting today, ANBAD takes a look back at – hyperbole aside – a thrilling year of music.

As we go through the count-down over the next few days, there’ll be some explanations of how ANBAD’s Top Ten Bands Of 2010 were calculated, as well as a few fleeting thoughts on the bands. Today, the first bunch of runners-up are revealed…

There are plenty of ways to recap on the past year. Most music blogs will publish a ‘Best Of’ list, and in that respect, ANBAD is no different. Most of the bands on this list won’t appear on anyone else’s though. Depending on your point of view, this may or may not be a good thing.

But before we tuck into the meat of the matter, here’s the gristle and skin: the first group of runners-up. These bands that didn’t quite make the Top Five, and yet still jabbed their greasy musical fingers through the tissue paper of my consciousness. They’re all excellent bands, worthy of your time, and/or another listen:

Scary Mansion: “…as exhilarating as an unexpected, drunken kiss with a stranger in the centre of a nightclub.”
Scary Mansion // No Law

Bern And The Brights “have a singer with a voice of scuffed antique silk, and musicians who can keep it simple and, most importantly, keep it affecting.” - A New Band A Day

90. Bern & the Brights – Swing Shift Maisies
Lush yet austere: art-rock with indie production values, but which actually enhance the violin-fueled bite of the surprisingly complex, counterintuitive songs. - Lucid Culture

90. Bern & the Brights – Swing Shift Maisies
Lush yet austere: art-rock with indie production values, but which actually enhance the violin-fueled bite of the surprisingly complex, counterintuitive songs. - Lucid Culture

Barring the unforeseen, this is it! Keep in mind that the songs are in completely random order (other than #1 of course, heh heh). This is just one of our many ways of spreading the word about all the good music out there that the corporate media and their imitators in the blogosphere won’t touch because it’s too edgy, too much fun, or too intelligent. In response to your requests for as much variety as possible, we give you 100 songs by 100 of the coolest artists out there, in a wide variety of styles. Whenever possible, we link to each individual song, but because some of them are so new they haven’t been recorded or youtubed yet, that’s not possible. We try our best to get titles right, but in the case of the unreleased stuff the artists may not have settled on definitive ones yet. Check back on December 31 for any last-minute changes…you never know.

Because we’re a New York blog, this is a very New York-centric list. If you’re interested, here’s our 100 Best Albums of 2010 list, our Best Songs of 2009 list, our 50 Best Albums of 2009 list and our 200 Best Albums of the Decade list for the entire decade of the zeros.

1. Changing Modes – Moles
A punk rock classic with all the extras: a wicked catchy tune, a scream and a sizzling guitar solo. It looks at the life of a crazy homeless person living in the bowels of the New York subway, where it’s “worse than your nightmares and better than your wildest dreams.”

2. The Brooklyn What – Punk Rock Loneliness
Chilling, vintage punk-infused wintertime scenario at the corner of Bleecker and Bowery, where CBGB’s used to be, by the brilliant, eclectic New York band.

3. The Larch – Tracking Tina
Tongue-in-cheek retro new wave about paranoid yuppie parents putting their kids under surveillance, from the band’s career-best new album Larix Americana

4. Clare & the Reasons – Murder, They Want Murder
The natives in “Ditmasville” are restless and they want blood – an eerie, Orbisonesque noir pop song from the Brooklyn art-rockers.

5. Bobtown – We Will Bury You
The New York bluegrass/Americana band’s soaring but unsettling, funereal highlight from their new albumm.

6. Tris McCall – First World, Third Rate
Suburban New Jersie anomie and angst perfectly capsulized and set to catchy piano-based art-rock, from the songwriter’s excellent new album Let the Night Fall.

7. Flugente – People Come from All Around
An anti-gentrifier anthem from a first-class songwriter memorializing a better time and place in NYC without being sentimental. From his excellent new one Flugente II.

8. Norden Bombsight – Raven
Careening art-rock monstrosity from the fiery, psychedelic band – probably the only song ever to memorialize (or mention) West Haven, Connecticut.

9. Walter Ego – I Am the Glass
Metaphorically rich, tuneful, Costelloish rock from the excellent lyrical New York acoustic rocker (who needs a website so his fans can hear this song).

10. 3ology with Ron Miles – Nightmares of My Youth
Cornetist Miles’ jazz trio with Tim and Doug Carmichael vividly evokes a dark night of the soul. From the group’s debut album together.

11. Chicha Libre - Rich Guy Theme
Early in the year, the psychedelic Brooklyn chicha revivalists debuted this live as one of two main themes for Charlie Chaplin’s The Idle Class. It’s as evil and as catchy as any of the stoner surf themes that came out of Peru in the 70s that the band emulates so perfectly.

12. Liz Tormes - Read My Mind
Bitter, intense, ferociously literate kiss-off song from the New York Americana chanteuse. From her most recent album Limelight.

13. Kasey Anderson – Torn Apart
A warning to get out of a small town before it suffocates you, done sort of growly, Steve Earle style. From Anderson’s new album Nowhere Nights.

14. Edward Rogers – Passing the Sunshine
The blithe neo-Britpop melody masks the ache for a New York neighborhood lost to greedy developers and the gentrifiers who moved in and ruined it. From Rogers’ excellent most recent album Sparkle Lane.

15. The Snow – The Silent Parade
An understatedly majestic art-rock anthem about the snowstorm to end all snowstorms, from frontman Pierre de Gaillande’s ongoing “disaster song cycle,” and the band’s latest album I Die Every Night.

16. Jay Banerjee & the Heartthrobs – Long Way Home
Lusciously jangly but savagely dismissive 12-string guitar rock song for a clueless gentrifier girl who finds that New York isn’t all just trendy and nice like pitchfork says it is.

17. Tall Tall Trees – Sallie Mae
Characteristically edgy, hilarious banjo rock tune that brings the instutition to life: she left him and stuck him with a debt he’ll never be able to repay.

18. Avi Fox-Rosen – White Collar Crime
Sly, Steely Dan-esque funk-rock with a message: if you want to be a crook, this is the right way to go.

19. Bad Reputation – I Made Myself Small
Pierre de Gaillande’s English-language Georges Brassens cover project’s version of the classic J - Lucid Culture

We’ve all heard the saying “everyone has a breaking point,” a point where they are mad as hell and don’t want to take it anymore. I spent most of my life without ever reaching my breaking point. It was good while it lasted, but in the midst of one of the worst snowstorms NYC has ever seen, it happened. Not because the streets weren’t being plowed or because I was having impure thoughts about Janice Huff while she recapped the blizzard like it was a sporting event. It had to do with a Music Industry “year end best of list.”

Year end best of lists irritate me. I skim them with less then a grain. I love when a music writer sorts through the trash for me, (you know who you are), others leave me scratching my head, (you know who you are) and then there are writers who seem to me to be drinking too much eggnog with record labels publicists. (Do you know who you are?). As I read list after list that has neglected great albums or songs of 2010, I shrugged as I always do. When I saw that a few jackasses had Kings of Leon on their lists, a little steam built up inside of me. I assumed the bands record label gave that writer seats next to a model who was told to pay attention to him or her. There’s no reason to ever include Kings of Leon on any best of list. Even if the label set me up with Adrianna Lima, I just don’t think I could follow through with adding Kings of Leon to even the bottom of the list. I just couldn’t take the dive.

When I read that someone remotely respectable ranked Pete Yorn’s album as the 3rd best of the year, I opened my front door and enough fire billowed from my lungs that it cleared out all of the snow in my driveway. Pete Yorn? Is this guy kidding? The only way somebody puts Pete Yorn on a best of list, is if their hoping one of Pete’s Hollywood brothers will hook them up with another story. Let’s be realistic, when dissecting Pete’s career, it’s appears as if his brothers have stopped helping him. So music critics… why bother?

I need to right this wrong. Clark Kent runs for a phone booth, I ran for a listening booth. I started thinking of all of the great music from 2010 and then remembered all of the local unsigned music this past year. So much of it is more note worthy than Pete Yorn or Kings of Leon.

Where would I begin? Where would I stop? I decided to make it close to the length of a 90 minute cassette tape, like the one you’d make for your crush in homeroom or one you made for your lover as he or she left for college. Do the math people! Kings of Leon have released 5 Albums, 61 songs, 6 of which I think are good for a batting average of .098, which for those of you who don’t know baseball, that’s pretty crappy. Pete Yorn has released 6 albums, 72 songs, 3 of which I think are good which is a batting average of .041, and for those of you scoring at home is crappier than Kings of Leon.

I’m giving you 23 free songs for download by local NYC area artists who aren’t on labels. In most cases you’ve never heard of them, yet I believe that all of these songs are more inspiring than anything by Kings of Leon or Pete Yorn. I realize that I have set the bar low and I know that if you only dig 3 out of these 24 songs, it’s a higher average than their combined .088 batting average. I do believe you’ll dig these songs

I’ve listed the songs in alphabetical order by title, they are not ranked. The songs are all by local unsigned acts, some unsigned by choice, some just getting started, some probably will be signed by the time my next year’s list comes out, IF Labels still exist. It really doesn’t matter, it’s all good..and there are obviously more I wasn’t able to include unfortunately. Accordingly, this is NOT a best of list, it’s just a list of really great songs.

For a more in depth discussion on my dispassion for Kings Of Leon and or Pete Yorn tweet @DJrichrusso

Directions: The titles of each song are links, you can click them to stream the track or right click links and select “Save As”, “Save Target As” or “Save File As” to download file. Want them all? There’s a Megaupload link at the bottom of the page to download the entire list! Enjoy!

Baby You’re Too Young DES ROAR (from Brooklyn, one of the catchiest songs of the year)

Bullet STEEL TRAIN (New Jersey, they broke the chains of the their record deal and self released their best album to date and this is the single)

California Girls (Ain’t So Great) ANTHONY D’AMATO (Princeton NJ, I’m sure Brian Wilson and Katy Perry will have a fit when they hear this gem bashing the Girls of Cali)

Don’t Tell Me THERINA BELLA and the TERRIBLE GIRLS (Staten Island, I once stated on my show that Staten Island might have more musical diversity than the other boroughs combined, this is the first of 5 staten island songs on the list, this is the pop genre)


Eddie Said AVON JUNKIES F/ARIES (Staten Island, this is the Ska Genre)

Effigy URGE OVERKILL (Chicago, oops this ain’t local, but who cares, the first new Urge - Rich Russ / 101.9RXP

We’ve all heard the saying “everyone has a breaking point,” a point where they are mad as hell and don’t want to take it anymore. I spent most of my life without ever reaching my breaking point. It was good while it lasted, but in the midst of one of the worst snowstorms NYC has ever seen, it happened. Not because the streets weren’t being plowed or because I was having impure thoughts about Janice Huff while she recapped the blizzard like it was a sporting event. It had to do with a Music Industry “year end best of list.”

Year end best of lists irritate me. I skim them with less then a grain. I love when a music writer sorts through the trash for me, (you know who you are), others leave me scratching my head, (you know who you are) and then there are writers who seem to me to be drinking too much eggnog with record labels publicists. (Do you know who you are?). As I read list after list that has neglected great albums or songs of 2010, I shrugged as I always do. When I saw that a few jackasses had Kings of Leon on their lists, a little steam built up inside of me. I assumed the bands record label gave that writer seats next to a model who was told to pay attention to him or her. There’s no reason to ever include Kings of Leon on any best of list. Even if the label set me up with Adrianna Lima, I just don’t think I could follow through with adding Kings of Leon to even the bottom of the list. I just couldn’t take the dive.

When I read that someone remotely respectable ranked Pete Yorn’s album as the 3rd best of the year, I opened my front door and enough fire billowed from my lungs that it cleared out all of the snow in my driveway. Pete Yorn? Is this guy kidding? The only way somebody puts Pete Yorn on a best of list, is if their hoping one of Pete’s Hollywood brothers will hook them up with another story. Let’s be realistic, when dissecting Pete’s career, it’s appears as if his brothers have stopped helping him. So music critics… why bother?

I need to right this wrong. Clark Kent runs for a phone booth, I ran for a listening booth. I started thinking of all of the great music from 2010 and then remembered all of the local unsigned music this past year. So much of it is more note worthy than Pete Yorn or Kings of Leon.

Where would I begin? Where would I stop? I decided to make it close to the length of a 90 minute cassette tape, like the one you’d make for your crush in homeroom or one you made for your lover as he or she left for college. Do the math people! Kings of Leon have released 5 Albums, 61 songs, 6 of which I think are good for a batting average of .098, which for those of you who don’t know baseball, that’s pretty crappy. Pete Yorn has released 6 albums, 72 songs, 3 of which I think are good which is a batting average of .041, and for those of you scoring at home is crappier than Kings of Leon.

I’m giving you 23 free songs for download by local NYC area artists who aren’t on labels. In most cases you’ve never heard of them, yet I believe that all of these songs are more inspiring than anything by Kings of Leon or Pete Yorn. I realize that I have set the bar low and I know that if you only dig 3 out of these 24 songs, it’s a higher average than their combined .088 batting average. I do believe you’ll dig these songs

I’ve listed the songs in alphabetical order by title, they are not ranked. The songs are all by local unsigned acts, some unsigned by choice, some just getting started, some probably will be signed by the time my next year’s list comes out, IF Labels still exist. It really doesn’t matter, it’s all good..and there are obviously more I wasn’t able to include unfortunately. Accordingly, this is NOT a best of list, it’s just a list of really great songs.

For a more in depth discussion on my dispassion for Kings Of Leon and or Pete Yorn tweet @DJrichrusso

Directions: The titles of each song are links, you can click them to stream the track or right click links and select “Save As”, “Save Target As” or “Save File As” to download file. Want them all? There’s a Megaupload link at the bottom of the page to download the entire list! Enjoy!

Baby You’re Too Young DES ROAR (from Brooklyn, one of the catchiest songs of the year)

Bullet STEEL TRAIN (New Jersey, they broke the chains of the their record deal and self released their best album to date and this is the single)

California Girls (Ain’t So Great) ANTHONY D’AMATO (Princeton NJ, I’m sure Brian Wilson and Katy Perry will have a fit when they hear this gem bashing the Girls of Cali)

Don’t Tell Me THERINA BELLA and the TERRIBLE GIRLS (Staten Island, I once stated on my show that Staten Island might have more musical diversity than the other boroughs combined, this is the first of 5 staten island songs on the list, this is the pop genre)


Eddie Said AVON JUNKIES F/ARIES (Staten Island, this is the Ska Genre)

Effigy URGE OVERKILL (Chicago, oops this ain’t local, but who cares, the first new Urge - Rich Russ / 101.9RXP

We’ve all heard the saying “everyone has a breaking point,” a point where they are mad as hell and don’t want to take it anymore. I spent most of my life without ever reaching my breaking point. It was good while it lasted, but in the midst of one of the worst snowstorms NYC has ever seen, it happened. Not because the streets weren’t being plowed or because I was having impure thoughts about Janice Huff while she recapped the blizzard like it was a sporting event. It had to do with a Music Industry “year end best of list.”

Year end best of lists irritate me. I skim them with less then a grain. I love when a music writer sorts through the trash for me, (you know who you are), others leave me scratching my head, (you know who you are) and then there are writers who seem to me to be drinking too much eggnog with record labels publicists. (Do you know who you are?). As I read list after list that has neglected great albums or songs of 2010, I shrugged as I always do. When I saw that a few jackasses had Kings of Leon on their lists, a little steam built up inside of me. I assumed the bands record label gave that writer seats next to a model who was told to pay attention to him or her. There’s no reason to ever include Kings of Leon on any best of list. Even if the label set me up with Adrianna Lima, I just don’t think I could follow through with adding Kings of Leon to even the bottom of the list. I just couldn’t take the dive.

When I read that someone remotely respectable ranked Pete Yorn’s album as the 3rd best of the year, I opened my front door and enough fire billowed from my lungs that it cleared out all of the snow in my driveway. Pete Yorn? Is this guy kidding? The only way somebody puts Pete Yorn on a best of list, is if their hoping one of Pete’s Hollywood brothers will hook them up with another story. Let’s be realistic, when dissecting Pete’s career, it’s appears as if his brothers have stopped helping him. So music critics… why bother?

I need to right this wrong. Clark Kent runs for a phone booth, I ran for a listening booth. I started thinking of all of the great music from 2010 and then remembered all of the local unsigned music this past year. So much of it is more note worthy than Pete Yorn or Kings of Leon.

Where would I begin? Where would I stop? I decided to make it close to the length of a 90 minute cassette tape, like the one you’d make for your crush in homeroom or one you made for your lover as he or she left for college. Do the math people! Kings of Leon have released 5 Albums, 61 songs, 6 of which I think are good for a batting average of .098, which for those of you who don’t know baseball, that’s pretty crappy. Pete Yorn has released 6 albums, 72 songs, 3 of which I think are good which is a batting average of .041, and for those of you scoring at home is crappier than Kings of Leon.

I’m giving you 23 free songs for download by local NYC area artists who aren’t on labels. In most cases you’ve never heard of them, yet I believe that all of these songs are more inspiring than anything by Kings of Leon or Pete Yorn. I realize that I have set the bar low and I know that if you only dig 3 out of these 24 songs, it’s a higher average than their combined .088 batting average. I do believe you’ll dig these songs

I’ve listed the songs in alphabetical order by title, they are not ranked. The songs are all by local unsigned acts, some unsigned by choice, some just getting started, some probably will be signed by the time my next year’s list comes out, IF Labels still exist. It really doesn’t matter, it’s all good..and there are obviously more I wasn’t able to include unfortunately. Accordingly, this is NOT a best of list, it’s just a list of really great songs.

For a more in depth discussion on my dispassion for Kings Of Leon and or Pete Yorn tweet @DJrichrusso

Directions: The titles of each song are links, you can click them to stream the track or right click links and select “Save As”, “Save Target As” or “Save File As” to download file. Want them all? There’s a Megaupload link at the bottom of the page to download the entire list! Enjoy!

Baby You’re Too Young DES ROAR (from Brooklyn, one of the catchiest songs of the year)

Bullet STEEL TRAIN (New Jersey, they broke the chains of the their record deal and self released their best album to date and this is the single)

California Girls (Ain’t So Great) ANTHONY D’AMATO (Princeton NJ, I’m sure Brian Wilson and Katy Perry will have a fit when they hear this gem bashing the Girls of Cali)

Don’t Tell Me THERINA BELLA and the TERRIBLE GIRLS (Staten Island, I once stated on my show that Staten Island might have more musical diversity than the other boroughs combined, this is the first of 5 staten island songs on the list, this is the pop genre)

Eddie Said AVON JUNKIES F/ARIES (Staten Island, this is the Ska Genre)

Effigy URGE OVERKILL (Chicago, oops this ain’t local, but who cares, the first new Urge so - Rich Russo - 101.9RXP

Bern & The Brights at Northern Soul
A night of stand-out musical revelations

June 17, 2010: I've been a fan of Bernadette Malavarca's music for quite a while now. Her haunting voice and lyrical ease combined with an at times delicate, at times powerful guitar style has always brought chills. For the most part, I had only seen Bern perform with her acoustic guitar. Tonight I got a chance to check out some unique dimensions to the music of Bern & The Brights.

There were a few stand-out revelations for me. First, hearing Catherine McGowan sing. Hers is a powerful voice that I just never expected. I'd seen her play before, but never sing upfront like that. And the moments her voice combined with Bern's were magic. The two differed just enough to compliment each other perfectly.

Then there's the violin of Nicole Scorsone. When bowed, it added a kind of flowing undertone that moved thru the songs with ease. When plucked, it bounced along with and off of the guitars playfully.

Filling out the lineup was the tight rhythm section of Shawn Fafara on bass and Jose Ulloa on percussion. Jose played a cajon, which is becoming a favorite among drummers for these smaller venues. The trick is to not just smack it like a hollow box. There are certain regions to a cajon that, if in the right hands (like tonight) can sound as full as a drum kit.

The sound of Bern & The Brights is a prog-rock country garage gumbo that can move you with remarkably gentle moments and kick your ass with sudden sticatto outbursts. What's in between can make you cry, smile, tap your foot (sometimes all at the same time).

I can't wait to see them in a full-on electric setup. Luckily, they'll be doing just that at their CD Release Party at Maxwell's in Hoboken on July 17, 2010. Check out bernandthebrights.com for details. - http://www.stephenbailey.com

An auspicious Brooklyn show by one of the finest, most intelligent and original exports from the impressively fertile music scene scattered around Montclair, New Jersey. This show was yet further proof that the best new rock music out there bears absolutely no resemblance to anything coming out of Williamsburg. Bern & the Brights’ sound is raw, plaintive and lush in an artsy vein somewhat evocative of New York cello rockers Pearl & the Beard. They don’t waste notes, they vary their tempos and their two women singers deliver a potent emotional impact: this band does not sound like not they go gently into their parents’ luxury condo at the end of the night. Bandleader/Telecaster player Bernadette Malavarca sings with a big, powerful, wounded wail, a soulful delivery shared with just a tinge less projectile force by acoustic guitarist Catherine McGowan. Violinist Nicole Scorsone plays vividly and tersely, adding considerable poignancy to the band’s sound. Their sub bass player locked in impressively with the drums. Their first song was an apprehensive minor-key number: “So long since I’ve been myself,” mused Malavarca. My Black Cat, sung by McGowan had a rustic Nashville gothic feel: toward the end of the song, the cat dies, and it’s not pretty. As the song wound up, Malavarca moved to the standup drum kit they’d set up to the side of the stage.

Another song was fast and fiery, punctuated with staccato violin and a swaying rhythm that grew funkier toward the end. Built around a catchy, insistent two-chord riff, When It’s Real was captivatingly perturbed, Malavarca’s soulful vocals effectively capturing a feeling of being pushed past the limit of willingly putting up with someone’s bullshit. The show wound up with a fast, Paisley Underground inflected stomp, a swaying, stark anthem possibly titled Irish Moss, and the somewhat epic Sleepless Aristotle which wound up as a delirious percussion jam, the whole band (and a friend of the band) joining in the pandemonium, banging on whatever was nearby and would resonate. This is a band that’s still growing – in places, some of the songs fall into the kind of lazy atonality that makes so much of indie rock so lame, i.e. the tendency to move a single note in a chord up or down a half step instead of shifting hand position to the real major or minor chord that would resolve the phrase more memorably and melodically. But most of the songs don’t have that problem. And indie rock types wouldn’t know the difference anyway. Watch this space for upcoming NYC area live dates.
- http://lucidculture.wordpress.com/2009/07/21/concert-review-bern-the-brights-at-spikehill-brooklyn-n

Bern & the Brights
delivering the goods
by James Dower

Bern & the Brights delivers to the music scene what our new Commander & Chief has brought back to this country—hope. Finally, here is a band that is looking to blaze a new sonic trail. Here are musicians that are traveling to new places, beyond the vast wasteland of wanna-be rockers and need-to-be egos that have just picked up a guitar to declare artistry. Who would have guessed that Montclair, NJ would produce something this refreshing?
At the creative center of it all is Bernadette Malavarca, a multi-instrumentalist who has a passion and energy for song craft and guitar playing. Catherine McGowan compliments her on acoustic guitar and vocals. Together they produced the band’s recent EP Wartime Lullaby and are interviewed here. Joining the girls to fashion and fortify this sound with driving rhythms and emotional soundscapes are Nicole Scorsone on violin, Shawn Fafara on bass, and Jose Ulloa on drums.

Montclair, NJ seems to be a fertile breeding ground for new and original music. Does competition or that communal spirit have an influence on your writing?

C: Inspiration and influence in my songwriting comes from all over—so I can't just assign it to my life in Montclair, but the scene and the music collective that we've been a part of and are growing with has proven to give much inspiration, energy, and drive to make music bigger and bigger in my life.

B: I don't feel or focus on any competition. The support on the other hand is has been special for me—within our band and in our community. It's always better to be experiencing a moment in music and time with people on your same wave length—I see my contemporaries here at home like that—sharing in a moment with us, bouncing ideas off each other, laughing a lot . . .

Do you ever find yourself writing a whole song in just one sitting?

C: I have done that before. In order for something like that to happen I need to have enough space and time to really hear the entire song at once without interruption. 99% of what I write is spread over many sittings.

B: Yes. I've done this many, many times. But, the more I have on my plate to manage, that becomes harder and harder, so I have in the recent past begun to work on songs in several sittings. Lyrics usually are one sitting, though . . . for whatever reason, still.

Do you think it is possible we might live to see a future where consumers insist on all recorded content (music to movies) should be made available for free? What then would the future hold in store for the music industry and for the generations of songwriters to come?

C: I don't know if albums will ever become 100% free, it's hard to say what sort of new business plan will come about. I will say that artists and people in the industry can work towards becoming more clever. It's all a matter of figuring out how to keep up with the desires of a consumer and match it with a product they want to pay money for.

B: I think artists will have to rely on their live shows and new types of products—thinking outside the box of music—like alarm clocks that project holograms of the band members or something. Or maybe music will have to become a social service, and future generations of songwriters will have to sing in the streets for tips . . . oh, wait, we already do that. - http://www.thedelimagazine.com/FeatureView.php?artist=bernandthebrights

You wait, you hope, and then it appears. Sometimes it feels as though there’s a gap – a hollow – an absence – and waiting for the jigsaw piece to fall back into place is the hardest part.

Bern and The Brights were there when I needed them most. Isn’t it strange how music can do that? How did they know?

The whys, wheres and hows are unimportant – I needed that certain lift, a deft yank from the fug billowing around my mind. Right on cue, Bern and The Brights sidled up, slipped a dainty arm around my shoulders and hugged tight.

The song was Sleepless Aristotle, silky but trembling, and its gentle caress did the trick all right. It glistens with early-morning vim; energised, happy but wistful.

Bern and The Brights // Sleepless Aristotle

Bern and The Brights describe themselves as Danceable Romantic Nerd Rock, but don’t let that put you off. They have a singer with a voice of scuffed antique silk, and musicians who can keep it simple and, most importantly, keep it affecting.

Some songs have the ability to lift crowds to their feet, and others lift spirits when ambition is faltering. Perhaps Sleepless Aristotle can only do it for me. Maybe it’ll perform the same trick for you too.

www.myspace.com/bgroove - A New Band A Day

Lenhartsville, PA -

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If you go: Bern & the Brights in concert
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Members of Bern & the Brights are, from left, Jose Ulloa, Catherine McGowan (front), Bernadette Malavarca, Shawn Fafara and Nicole Scorsone. Catch them Saturday at 7:30 p.m. at the Creekside Cultural Center in Lenhartsville.
When you hear the opening violin licks of Bern & the Brights' sweet new song "Sangria Peaches," you might think you've stumbled upon the latest Dave Matthews Band tune.

Then the soaring vocals by Bernadette Malavarca kick in, and it's clear that Matthews isn't part of this deal, but not to worry, because "Sangria Peaches" and the other three songs on the band's new EP, "Swing Shift Maisies," are likely to carve out their own space in the jukebox in your head.

They'll settle right in there alongside favorites by some of the band's other influences, such as R.E.M., Jeff Buckley, Jenny Lewis and Yeah Yeah Yeahs.

Bern & the Brights is a lot like all these people, and a lot different from all of them as well. In fact, it's pretty clear that when they got together two short years ago, the first thing they did was toss the Rock Band How-To Guide right out the window. What they ended up with was a catchy and danceable indie nerd rock concoction, complete with two female guitarists/singers up front and another woman sawing away on the violin like nobody's business.

The Montclair, N.J.-based band is the brainchild of Malavarca, who woke up from a dream one night with the name of her nonexistent band dancing around in her head. She just needed to find the other members.

Malavarca seems to have met a musical soulmate in Catherine McGowan, who shares songwriting and singing duties, and provides the acoustic accompaniment to Malavarca's electric guitar, while Nicole Scorsone adds the violin, Shawn Fafara bass and Jose Ulloa drums.

In a recent phone interview, McGowan said that with three women in the spotlight, the band sometimes comes face-to-face with misguided assumptions, especially if they're playing as part of a loud rock night at a club with all guy bands, as they did last Friday at Spike Hill in Brooklyn, one of their regular haunts.

"I think the music we're creating and sharing can be surprising when you see three girls up front," McGowan said. "It probably seems like it should be more gentle than it is. We have some gentle moments, but we also have some harder, in-your-face moments."

Folks who come out to see them Saturday at 7:30 p.m. in the intimate confines of the Creekside Cultural Center in Lenhartsville can expect plenty of in-your-face moments from a band that has been building a buzz based on the energy of its frequent live performances, which have included gigs at such famous rock venues as Webster Hall and The Bitter End in New York City and The Stone Pony in Asbury Park, N.J.

McGowan said the new EP was the band's attempt to transfer that energy, and some fan-favorite songs, onto a recording to see how they would be received. So far so good. "Swing Shift Maisies" was released July 17 at a sold-out show at Maxwell's in Hoboken, N.J.

The title of the EP refers to the female jazz musicians of the 1940s who took up the beat when the male players went off to fight in World War II.

McGowan said Malavarca happened upon the somewhat obscure phrase (among people younger than 60, anyway) while thumbing through a book in a bookstore.

She said it just seemed to fit the band at the moment, not just from the female-musician perspective, but also in terms of being in the right place at the right time.

She explained that the band had been trying to record but wasn't getting the sound it wanted, so they decided to try recording live, as a full band. They called an acquaintance, Matt Ryan, who runs Homefront Studios in Caldwell, N.J., to see if he would work with them, and by chance, he said he was about to call them to see if they would help promote his studio, where he wanted to specialize in recording bands live. They had met their match.

And not to rush things, but fans and fans-to-be will be glad to know the band already has seven more songs recorded for its first full-length CD, which McGowan said should be ready by midwinter or thereabouts.

McGowan confesses with good humor and without apologies that the band members all qualify as nerds. They're bookworms on tour (which, no doubt, feeds their inspired lyrics) and early-risers who tend to be overprepared and on time for everything.

McGowan said the band is looking forward to playing at Creekside, which they heard about from fellow New Jersey singer/songwriter Sarah Donner, who performed there in March.

Bern & the Brights was drawn to the idea of playing a room where the people were there for only one reason: to hear the music, McGowan said, adding that the band will be playing its usual no-holds-barred electr - Reading Eagle

Brooklyn’s festive Southpaw, with its thickly lined walls of classic record sleeves and concert posters, was comfortably full when New Jersey’s Bern & The Brights took the stage. Named for their anchor and main songwriter Bern Malavarca, who formerly performed as a solo artist, the now quintet is a result of a fortuitous collaboration only intended for one gig. The symbiotic results led to fulltime collaboration, a fine choice musically but also on a personal level, and the members’ enjoyment of one another seeped into the audience this evening.

Opening with “Boo,” The Brights immediately established the momentum that would continue to feed the crowd’s dancin’ tendencies, its driving rhythm creating something of a Western storytelling-song feel. What’s really remarkable, though, is Bern’s face-slapping voice, not a bit shy in this live setting and howlin’ quite beautifully through guttural growls and knee-wobbling crescendos. Similarly, singer and acoustic guitar player Catherine McGowan opened her mouth to reveal quite the pipes. Both Bern and McGowan sang with strong, resonating voices that made me want to weep openly.

Also moving are the songs themselves, most of which are paced at a driving tempo suggestive of travel and action. The upbeat numbers have a traditional American feel without actually being country songs, a genre hint augmented by Nicole Scorsone’s impressive violin. Bern’s electric guitar brings an indie-rock edge, a notion rounded out by Shawn Fafara on bass and Jose Ulloa on drums, and the group sometimes even inches into jam territory. Constantly benefiting from collaboration, the folky “These Creeps And Automatons” gave McGowan center stage for a stretch, while “Soul” presented three-part harmonies and some plucky gypsy fun from Scorsone.

Through it all, these kids clearly had a bang up time, letting the audience know that “Southpaw is the friendliest place to play.” They also shared the excellent news that they’d just won an emerging artists contest, earning the chance to write with musician and songwriter/producer extraordinaire Butch Walker and open for him at Webster Hall Saturday the 14th. Bern & The Brights are no doubt elated by this opportunity, and it won’t be surprising when we see even more of these guys in the near future. - KnocksFromTheUnderground.com

Bern & The Brights have been on the lips of music enthusiasts in the tri-state area with their frequent touring and independent releases. With their newest EP, the Montclair, NJ,-based band explores elements of indie-rock, folk and pop arrangements, veering away from their usual soul influence.

Opening track “Boo” starts off simply, with only a violin melody, singer Bernadette Malavarca’s vulnerable croon and acoustic guitar accompaniment. But the song quickly builds with layers of eerie violin and cello harmonies and wispy drum work, which amps up the emotion of the lyric “It’s been too long since I’ve been myself.”

Malavarca’s quivering and passionate vocals are what first draws listeners in, particularly on “Sangria Peaches” with its folk influence and pop arrangement. The track also showcases the band’s playful instrumentation as they layer and alternate castanets, keyboard, tambourine and timbales over their usual violin and guitar. At one point, they even throw in a two-tone beat. The final track, “It Goes Like That,” finishes the eclectic album with twangy electric guitar work, energetic percussion rhythms, and charming three-part female harmonies, morphing the track into a modern honky tonk hit.

Bern & The Brights display the promising future of DIY music on Swing Shift Maisies. Although all tracks go past the four-minute mark, the EP is a hearty work filled with indie and folk gold that never becomes redundant or boring. Swing Shift Maisies is a work that flows remarkably well, regardless of any style changes.

In A Word: Refreshing

—by Alicia Fiorletta, August 5, 2010 - The Aquarian

It’s really wonderful when a band’s vocalist and their music are made for each other. Imagine that. Bern & The Brights are a very talented band that make original songs that are addictive and euphoric. The band’s new EP titled “Swing Shift Maisies” is a great example of the potential of this band. The EP consists of 4 songs: Boo, Sangria Peaches, Sleepless Aristotle and It Goes Like That. Sangria Peaches is a feel good song that beautifully intertwines the violin with the bass and drums with the guitars and the vocals. Everything comes together in a perfect sound. Sleepless Aristotle is a complex song that keeps you tapping your foot and listening for what happens next.

It just so happens that Bern & The Brights are celebrating their CD release party this Saturday July 17th at Maxwell’s in Hoboken. Make sure you check them out and buy their new CD.

You can also check out their Myspace page here: http://www.myspace.com/bgroove or their band website here: http://www.bernandthebrights.com/ - Jersey Rock Review

Bernadette Malavarca had the name of her band come to her in a dream, quite literally. Malavarca awoke with the name Bern & The Brights and managed to jot it down before falling back to sleep. Malavarca came together to play a bookstore closing with some friends at what was to be a one-off performance. The reaction of the crowd and the shared chemistry of the band convinced them that they were on to something, and suddenly the name had a home. Since then, Bern & The Brights have become one of the hottest acts in Northern New Jersey, and have even been named one of the 50 best up-and-coming bands in the New York City area by Deli Magazine. Bern & The Brights recently released their debut EP, Swing Shift Maisies, a thoroughly DIY project that reflects the energy and spirit that Bern & The Brights brings to the stage.

Swing Shift Maisies opens with "Boo", an intriguing, moody opening number. Malavarca has a distinctive voice, with a Gwen Stefani-like vibrato but a much more organic sound. Nicole Scorsone's violin dances with Malavarca's voice throughout the song, each urging the other on to new heights. "Sangria Peaches" is upbeat acoustic pop with dark undertones and a memorable melody. "Sleepless Aristotle" is hard to follow lyrically, but it's a vibrant tune with an active melody line that will stay with you. Malavarca is at her vocal best here. Bern & The Brights closes with the fatalistic country/rock romp "It Goes Like That". The band shows great energy; a sign that they are enjoying every creative moment together.

The sort of joy and dedication to each other and to each song is what will keep you coming back to Bern & The Brights. Malavarca's voice is a bit off the beaten path; lovely but with a unique vibrato sound that won't sit well with everyone but will garner her a lot of attention. The rest of the band is right there with her at every tune. Catherine MacGowan (guitar/vox), Shawn Fafara (bass), Jose Ulloa (drums) and the aforementioned Nicole Scorsone are all part of the dynamic/organic creature that is Bern & The Brights. This is a band going places. Make sure to check out Swing Shift Maisies, and see Bern & The Brights live if you can. The next time you do your seats might be much further back (and much more expensive).

Rating: 3.5 Stars (Out of 5)

Learn more about Bern & The Brights at http://www.bernandthebrights.com/ or www.myspace.com/bgroove. Swing Shift Maisies is available on CD from CDBaby. Downloads are available from Amazon.com and iTunes. - Wildy's World

Bern & the Brights are a breath of fresh air. Their sound is absolutely original: they’re impossible to pigeonhole, creating a violin-and-guitar-driven swirl of artsy new wave, chamber pop, art-rock and indie rock, with a raw, plaintive, emotionally resonant edge. Their song structures are counterintuitive: this band refuses to be contained by a simple verse/chorus/verse pattern. The title of their new album, Swing Shift Maisies refers to the all-female bands that sprung up during World War I: Rosie the Rocker instead of Rosie the Riveter. The term was actually a slur, the band using it here sarcastically – they’re all first-rate musicians. Frontwoman/guitarist Bernadette Malavarca has playful command of an impressively wide range of styles, and she’s full of surprises: she’ll punch out a staccato new wave phrase and and suddenly toss off a tongue-in-cheek country riff – or stick out her tongue with a comical Jimmy Page lick. Acoustic guitarist Catherine McGowan – who also sings – holds the songs to the rails along with the nimble rhythm section of Shawn Fafara on bass and Jose Ulloa on drums. The band’s not-so-secret weapon is violinist Nicole Scorsone, overdubbed here to the point that she’s a one-woman orchestra. For those who’ve never seen them live, this four-song ep makes an auspicious introduction: it may be short but it’s one of this year’s best so far.

The first track, Boo features characteristically plaintive violin over jangly guitar, with distant tango echoes. “Been so long since I’ve been myself,” Malavarca muses; the band works a catchy minor key guitar vamp that builds lushly with the strings, a suspenseful drum shuffle and a majestic, sweeping outro. The brisk Sangria Peaches kicks off with a tricky rhythm into a fast eight-note new wave groove with staccato violin, swirling strings and a coy break with castanets. McGowan sings Sleepless Aristotle – a live showstopper – with a chipper chirp: it’s a fast, swaying amalgam of chamber pop and vintage new wave, and a playful percussion breakdown. The last song here, It Goes Like That sounds like the Velvets jamming with the New Pornographers at Juilliard summer camp.

As a singer, Malavarca’s still finding her voice. It’s a powerful, versatile instrument with eye-popping range – when she’s projecting with an insistence that vividly recalls Martha Davis of the Motels (a little higher up the scale), she’s tremendously affecting. When she lapses into a drawl (which happily only happens every now and then), it’s an affectation that sticks out like a sore thumb in a band so original and so cliche-free. But given the quality and the imagination of the songs here, that’s a minor quibble. As good as the recordings are, the band is even better live: Bern & the Brights play the cd release for this album at Maxwell’s on July 17 at 8:30. Now’s your chance to enjoy them up close before it costs you twice as much at venues twice as big. - Lucid Culture

One night in New Jersey, between intermittent bouts of sleep Bernadette Malavarca made a note to herself, “Gonna start a band. It’ll be Bern & the Brights . . . should be sleeping.” The band she formed played their first gig in 2008 and now, in 2010 have played live over 200 times. I think even England’s favourite troubadour Frank Turner would take a moment from his relentless touring schedule to tilt his head in admiration of those numbers.

Sometimes as a new music promoter you get e-mails from bands that you feel have probably been sent to every address in the blogosphere i.e “hello outroversionmusic, you like snow patrol (which i don’t) so you might like…” so it was a pleasure to recieve a nice, personal e-mail from a representative of the band recently. And what was even more welcome is how good they are!

I was about to go away on vacation for two weeks so might have shyed away from getting back in that mindset at the last minute. However, I clicked on their myspace and was blown away by the endearing sound of the NJ quintet and so was everyone else I hurried around to play it to before I left.

It borders some distinct genres without ever settling for one, B&TB of course aren’t particularly lethargic and this attitude seems to cloak every aspect of their offerings. Defiantly country tinged, blues dripping in the instrumentation and atmosphere with soul-fueled vocals fusing together to create something truly special.

To pick a stand out track here would be to choose your favourite colour M&M, that is to say they’re all different in their own ways and are all equally satisfying but the best way to enjoy them is to get a load at a time and cram them in your face.. /candymetaphor

If I were to choose I would say the pure familiarity of the possibly autobiographical “It goes like that” takes some topping, “… Just you wait, I’m on the verge of something great. I know i’ve said that many times before but still you don’t see my shit in a record store“.

Truth is though I could happily have picked out any one of the songs i’ve heard so far and I can’t wait to hear more. Bern and the Brights can count me in as a member of the light brigade.

MP3s:

Sleepless Aristotle

It goes like that

Bern & the Brights are:
Bernadette Malavarca- lead guitar/vocals/percussion
Catherine McGowan- acoustic guitar/vocals
Nicole Scorsone- violin
Shawn Fafara- bass
Jose Ulloa- drums - Outroversion

I love it when a genuinely lovely new band lands in your inbox, and I love it even more when the person emailing is polite, personal and well-informed. Bern & the Brights made a wonderful first impression on me, and it was after listening to their lovely violin-infused alternative-pop tunes a good few times that I realised regretfully that I wouldn’t be able to see the US-based band live in the UK quite yet.

Bern & the Brights have gloriously catchy tunes with solid musical integrity still attached. ‘Sleepless Aristotle’ is probably my favourite track (available as a free download below), but each of their songs showcases something special, and I’d highly recommend getting your hands on a copy of their latest release ‘Swing Shift Maisies’ here.

Bern & the Brights – Sleepless Aristotle - The Blue Walrus

Visit Hoboken's Northern Soul on most any night, and you'll find a noisy neighborhood bar filled with the sounds of clinking glasses and plenty of conversation. Come back on a Thursday, though, and you'll find that same noisy neighborhood bar... and, if you choose to listen, a sampling of sublime acoustic music from talented local musicians.

This week, that would have meant the beautiful violin-driven melodies of Montclair's Bern & The Brights and some soulful, bluesy soft rock from two members of the New York City combo Cecilia Celeste. The windowed alcove at the front of Northern Soul, softly lit by candles and some simple track lighting, has become a refuge for area musicians who need a place to perform in the Mile Square City, as well as the music-loving patrons who crowd around the bands to listen.

Yes, the place gets loud - there's a pool table, darts, and several wide-screen televisions showing whatever game's on at the time - and the music's acoustic, so sometimes you need to crowd up right next to the performers if you want to hear the songs above the din. But somehow that only adds to the intimacy.

It certainly wasn't a problem for Bern & The Brights, who perform regularly throughout the Greater New York area. They recently helped kick off Jersey City's Groove On Grove outdoor concert series - playing in a sidewalk tent to an audience of scurrying commuters - and have shows planned this Spring and Summer at a flea market, the Jersey shore, the hipster-centric Arlene's Grocery in Manhattan, and finally an EP release show at Maxwell's in July.

The three women and two men in the group huddled together in Northern Soul's small performance space undaunted by their surroundings and provided their fans with an enchanting set of folkie pop, enriched by the melodic strains of Nicole Scorsone's violin and Bernadette Malavarca's ebullient vocals and lead guitar. Catherine McGowan adds rich harmony vocals and acoustic guitar, while Shawn Fafara on bass and Jose Ulloa on percussion provide the lilting rhythms of this multi-faceted combo - part gypsy soul, part Lilith Fair folk, part indie-pop. Visit bernandthebrightsblog.com for a list of their upcoming shows, and try to catch them wherever you can.

Kieran Sullivan and Osvaldo Soares comprise half of the New York City rock band Cecilia Celeste, but with only acoustic guitar and a small keyboard, they provided a fine taste of their group's bluesy groove. Sullivan's a supple and inventive guitarist, picking out captivating lead parts on his acoustic, while Soares harmonized on vocals and added sparse but tasty synth chordings to accent the melodies. Sullivan will be back at Northern Soul in two weeks with his side project Calico Jack, and Cecilia Celeste plan to record a new album soon at Hoboken's Water Music studios. For more information, you can check them out at myspace.com/ceciliaceleste. Northern Soul is located at 557 First Street. - NJ.com

As of late, New Jersey has produced some pretty awesome bands – Titus Andronicus and the Gaslight Anthem to name just two. But those are fronted by blokes. Let’s turn to something different, to Bern and the Brights, a Northern New Jersey folk pop five-piece. ‘Bern’ is Bernadette Malavarca, principal lyricist and lead vocalist, who according to legend came up with the phrase ‘Bern and the Brights’ in a hazy night and decided to form a band.

The result: a folk pop band featuring violin. Sometimes when you hear ‘unusual’ instruments in a rock band’s song, it tends to be a one-off appearance, like a horn added for extra effect. The first time I heard one of their tracks, I didn’t dwell on the fact that there was a violin playing along in this pop band. That’s because Nicole Scorsone’s violin sounds just right at home with the Bern and the Brights’ aesthetic. They’ve been described as a ‘female-fronted R.E.M.’, a description that I guess isn’t a great leap if you reflect on R.E.M. in Peter Buck’s mandolin-wielding days. Comparisons can be dangerous, but I’m going to make one of my own now. The sound of Bern and the Brights could give some folk pop acts we’ve featured here at TGTF (including Mumford and Sons and Fanfarlo) a run for their money. Engaging, fun music with Malavarca’s strong voice leading the way.

In 2008, they were named #46 by New York City’s Deli Magazine ‘Best Emerging NYC Artists’. You can probably imagine that there must be thousands if not tens of thousands of bands in the NYC area. Stop and consider that Chairlift, Vivian Girls, the Pains of Being Pure at Heart and Jaguar Love were also on that list. They then went on to win the Deli’s 2008 Open Poll (only open to readers), so you know they have a loyal, local fanbase who see them at venues you’re likely to have heard of: examples include Webster Hall in New York City, Maxwell’s in Hoboken, New Jersey, and the Stone Pony in Asbury Park, New Jersey, mostly famous as the small club where Bruce Springsteen and Jon Bon Jovi played in their early years. They have a Facebook page with over 1,000 fans already.

Considering they are a young band in music industry terms (they played their first gig together in 2008, an impromptu show at a bookshop closing), I think they might be on to something. Huge.

Bern and the Brights have an EP out called ‘Swing Shift Maisies’ and it can be purchased from Amazon. - There Goes The Fear

As of late, New Jersey has produced some pretty awesome bands – Titus Andronicus and the Gaslight Anthem to name just two. But those are fronted by blokes. Let’s turn to something different, to Bern and the Brights, a Northern New Jersey folk pop five-piece. ‘Bern’ is Bernadette Malavarca, principal lyricist and lead vocalist, who according to legend came up with the phrase ‘Bern and the Brights’ in a hazy night and decided to form a band.

The result: a folk pop band featuring violin. Sometimes when you hear ‘unusual’ instruments in a rock band’s song, it tends to be a one-off appearance, like a horn added for extra effect. The first time I heard one of their tracks, I didn’t dwell on the fact that there was a violin playing along in this pop band. That’s because Nicole Scorsone’s violin sounds just right at home with the Bern and the Brights’ aesthetic. They’ve been described as a ‘female-fronted R.E.M.’, a description that I guess isn’t a great leap if you reflect on R.E.M. in Peter Buck’s mandolin-wielding days. Comparisons can be dangerous, but I’m going to make one of my own now. The sound of Bern and the Brights could give some folk pop acts we’ve featured here at TGTF (including Mumford and Sons and Fanfarlo) a run for their money. Engaging, fun music with Malavarca’s strong voice leading the way.

In 2008, they were named #46 by New York City’s Deli Magazine ‘Best Emerging NYC Artists’. You can probably imagine that there must be thousands if not tens of thousands of bands in the NYC area. Stop and consider that Chairlift, Vivian Girls, the Pains of Being Pure at Heart and Jaguar Love were also on that list. They then went on to win the Deli’s 2008 Open Poll (only open to readers), so you know they have a loyal, local fanbase who see them at venues you’re likely to have heard of: examples include Webster Hall in New York City, Maxwell’s in Hoboken, New Jersey, and the Stone Pony in Asbury Park, New Jersey, mostly famous as the small club where Bruce Springsteen and Jon Bon Jovi played in their early years. They have a Facebook page with over 1,000 fans already.

Considering they are a young band in music industry terms (they played their first gig together in 2008, an impromptu show at a bookshop closing), I think they might be on to something. Huge.

Bern and the Brights have an EP out called ‘Swing Shift Maisies’ and it can be purchased from Amazon. - There Goes The Fear