Meredith Bragg -
Silver Sonya

Stereogum - In the past, Washintgon D.C. troubadour Meredith Bragg's voice has drawn comparisons to Ben Gibbard, or Elliott Smith. And this new solo record makes good on 'em (see "New York" for your Gibbard fix, the fragility of "Ballad Of An Opportunist" for Elliott), but it's an unchecked name that gets channeled and filtered on album opening track "My Absent Will." And though it's a disservice to Bragg's ultimately singular, fragile guitar-and-voiced record to simply play name the influence, Sufjan's all over this thing, from the bah-da-dums to the gently strummed tune's breathy tenor.

All Music - 4 stars - Every track glistens with mystery thanks to the low-key production and Bragg's incomparable singing making this unusual album a pure delight.

Washington Post - Under the project's ground rules, producers T.J. Lipple and Chad Clark (who run Silver Sonya) were not allowed to add any new sounds, but they could sample, loop and otherwise manipulate the vocals and guitar.

That could have led to a mess, but Lipple and Clark respect Bragg's songs and performance, which are never lost in the effects. The music remains simple, direct and intimate, as befits these musings. The set includes "Plinian," a historical ballad that seems to be about the eruption of Vesuvius, but most of the songs are more personal. "Just turn your heart to me," Bragg sings in the almost-jaunty "Ballad of an Opportunist," and the distant electronic "wa-aa-aahs" underscore the line by turning the music ever so slightly plaintive.

WashingtonPost.com -There's a warm and welcoming feel to the entire album, as it never gets lost in its own melancholy. Bragg's voice and guitar are the only instruments on the album, which shows a confidence in the material, and one listen through "Silver Sonya" makes it clear that confidence is well-deserved.

Alarm Press - When Elliott Smith died in 2003, some listeners wondered whether his brand of Nick Drake-influenced folk rock might die with it. Not to worry — Meredith Bragg earns comparisons to Smith with Silver Sonya, Bragg’s newest album.

Indeed, Bragg seems to have a greater rapport with the studio itself than Smith ever did. Credited solely with vocals and acoustic guitar, Bragg — with producers T.J. Lipple and Chad Clark — has sculpted such base elements into something otherworldly.

But where comparisons to Smith become unavoidable is in the general feel of Silver Sonya: melancholy, existential, implosive, like punk’s howl spent and dried to a raspy croon. It’s a devastating experience, too quiet for catharsis and too vulnerable to offer any sense of escape.

But, as with Smith’s best work, a sense of mirth, a palpable black humor, rings out amidst the suffocating introspection. Nothing deflates absurdity, after all, faster than embracing it and having a chuckle.

NPR - With the album's stunning array of tones, it's hard to believe that guitar and vocals were the only things recorded. His songs are filled with minor key hooks. Warped and restructured acoustic guitar seems to mimic synths, horns, and even percussive sounds. Meredith's intimate vocals on "Ballad of an Opportunist" sing over light guitar picking reminiscent of Simon and Garfunkel-style folk. On the track "March", droning ambient noise produces a dark, cavernous feel.

Harp - The end result is quite lovely and mostly organic-sounding, a soft Elliott Smith-ish voice, a luminous guitar, and occasional forays into electronically-enhanced experiment. Bragg’s lyrics, too, blend the emotional directness you expect from guitar-based songwriting with wide-ranging and imagistic subject matter. A strong, thoughtful outing.

Spin.com - ...his greatest gift is the conversational subtlety with which he weaves an educational tale. Like his hyper-literate contemporaries the Decemberists and their frontman Colin Meloy...

Fensepost - astonishing

Hero Hill - Considering Bragg's penchant for writing killer pop hooks, the stripped down nature of this part Simon and Garfunkel, part Jose Gonzales-esque collection of songs is shocking on first listen. Gone are the addictive layers and drum machine loops... In it's place are emotional tracks that draw you close, like Bragg is calling you over to tell you a secret. It's a bold choice for Bragg, but one that works well and rewards for the listener.

Volume Knob - ...displaying a fragile vulnerability and beaming warmth. It's really, really good.

Your New Favorite Song - The touch is pretty caring and gentle here... just letting the songs go is beautiful.