Bright CD (BING-006)
Released: 8/15/1996

Albatross Guest House CD (BING-010)
Released: 9/16/1997

Plymouth Rock b/w Superstrings, Nova 7″ (BING-012)

Full Negative (or) Breaks CD/LP (BING-024)
Released: 10/17/2000

Mark Dwinell – guitars, vocals
Joe LeBreque – drums

“Bright is a two-man multi-instrumentalist team that has, over the span of several mostly home-recorded albums, become remarkably adept at making music that sounds as if it were being performed by an army of Thurston Moores.” -CMJ

“What could be a two-minute intro stretches out for much longer, the riffs sound feverishly slaved over and cared for, and arrangements allow for as much sound as they want to layer into the mix.” -Time Out NY

“Bright’s two-man lineup sounds as if there were an army of friends recording in the garage as the strains of free jazz, prog rock and This Heat coalesce into an unholy union.” -Alternative Press

“Part Joy Division, part Krautrock, wholly enjoyable.” -The Wire

Boston’s Bright breaks a barrier between the inaccessibility of drawn-out Krautrock improv and the rigidity of pop songwriting. The group colors in small points on the musical spectrum – sticking on one chord, or chord progression – but colors it completely, exploring the nuances of melody and sound with a subtlety lost on bands who see repetition as a chance for individual grandstanding or lack of ingenuity. Mark Dwinnell and Joe LeBreque (formerly of Sons of John Glen) began recording at home in 1993, often playing until the tape ran out. Dwinell would then chisel out songs by overdubbing extra guitar parts and singing. Their cassette release (limited to 100 copies) offers pop music opened up into freeform – melody rides between underindulgent jams and tempered backbeats – most songs ending before the three-minute mark.

Bright displays the group’s first studio excursion, recording with expert studio engineer Jacques Cohen. The signature sound is there – chugging beat, repeating measures – but the studio (and additional members) allows for expansion; space flows nicely between the instruments and the claustrophobia of overdubbing is not a worry. The original pressing comes with a fold-out poster of a colorful geographical map. The Albatross Guest House, named after Jay Dubois’ century-old, Roman-Catholic-sized-family house in Lowell where Bright did most of their recording, re-masters most of the tracks from the original cassette, along with new material.

Full Negative (or) Breaks is Bright’s fourth album (they released Blue Christian on Darla in 1998) and for it, the band returned to the studio and with Jacques Cohen. Using the same compositional process as on their previous home-recorded albums, Bright’s songs begin as in-studio improvisations, the best of which are overdubbed and shaped into their fully realized forms. Full Negative (or) Breaks is their most cohesive, engaging, and melodically inspired work – an eclectic mix of macho guitar driven improvs, minimalist pop-vocal song structures, spacious instrumental arrangements, and a smattering of free jazz wig-out. The songs reflect Bright’s enthusiasm for artists like Sun Ra, Faust, Neil Young, John Fahey, electric era Miles Davis, and of course, the innumerable monsters of Classic American Indie Rock.

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