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| MEREDITH BRAGG: SILVER SONYA |
| Written by Fense | |
| Wednesday, 28 November 2007 | |
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Solo acoustic artists can be difficult to swallow. Relying solely on an instrument in its natural element, accompanied of course by a voice, puts a heftier reliance on songwriting and, frankly put, few can hit the point where it all melds together in a completely tolerable manner. In 2007, the only names that readily comes to mind as being successful at putting together a solo acoustic albums are José Gonzaléz for In Our Nature and Kevin Hume for The Truth About Ants And Aphids. But this essay is not about Gonzaléz. Nore Hume. It’s about Meredith Bragg. The three artists compare in the structure of their albums, but their onset for recording vastly differed. In the preparation of Silver Sonya, Bragg set out to record an album that includes only sounds created by a voice [his] and a guitar [an acoustic one]. Once recorded, the resulting sounds could be endlessly manipulated. The result is astonishing. In the two instruments Bragg was able to develop a soiree of additional sound to accompany his clear cut songwriting. Free reign was given to anything created by the two and it’s surprising to hear how both voice and guitar can change once recorded and mixed. “Turns Out You Won” is an early favorite and includes catchy verse patterns and a welcome shuffle in the guitar. The manipulated elements mixed in include subtle sounds behind the guitar and a tap on the surface of the guitar, which give the song additional depth. These sort of elements enhance songs, deepening sounds and structures throughout Silver Sonya. “Plinian” finds Bragg taking the volume levels up a notch, giving the guitar a full-on strum and increasing the power behind his vocals. “Ballad Of An Opportunist” finds Bragg finger-picking a light melody in a very Elliott Smith-esque manner—even the vocals mimic the deceased and beloved singer. Still, it is in “March” where we find the most rewarding outcome of Silver Sonya. The dreamy guitar elements include a soft strum; light pitches that are slightly reminiscent of mellow, extended keyboard notes; and an underlying electronic/synth-like shuffling. Throughout Silver Sonya, Bragg manipulates the post recorded elements into eerie backing melodies (“Rejoice” is a perfect example of this) that flow underneath his light vocals and quiet guitar. They remove some of the singer/songwriter elements of his solo acoustic performance and make the album more of a bedroom folk-pop combo in line with artists like Nire and Tiny Vipers. To call Bragg a singer/songwriter, a solo acoustic performer, or a bedroom pop artist would be to cover part, but not all of what he encompasses. BAND LINKS TRACK LIST
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