In the early Nineties, Michele Solberg was one of Austin’s hottest new talents. Just past 20 years old, the singer-songwriter was featured prominently in the Austin Music Awards from 1992-95. She moved to Europe late in the decade, but returned in 2001 to release the sultry Beyond the Blue. Her first set of original music since then, Harvest Time presents a challenging concept as Solberg follows the fool’s journey of the tarot. One doesn’t need to understand that bit of arcana to appreciate Solberg’s return, however. Harvest Time is at times jazzy; at others noisy. “Sometimes” is intensely introspective and “Dogs Are on the Loose” appears to be defiantly political. Musically eclectic and lyrically adventurous, Solberg emerges somewhere between Tom Waits and Suzanna Choffel. Her partner Oliver Steck, perhaps best known for his work with Slaid Cleaves, adds an unlikely combination of trumpet, keyboards, and accordion. All told, Harvest Time is a welcome return for someone who remains one of Austin’s most distinctive voices.- Austin Chronicle-Jim Caligiuri, FRI., SEPT. 7, 2012

“Michele Solberg’s voice grounded in the night lifts the disheartened from malaise.  Taking knowledge from childbirth, motherhood, crisis and betrayal, she marches on into the night, wiser, stronger, like an angel’s trumpet heralding a calling, sharing the struggle, making sense of the years, pouring out her heart to those lost in the night and in despair.  She recognizes that there are only a few among us, gorging themselves upon us, taking, stealing our time together, cashing in on chaos and decay.  With this album, Michele places a foot down in the path of corporate greed, our disposable lifestyle, and the casual heart.  Good things to come from this artist.” MikeSpike- 1/24/2012

“The 10 songs Michele Solberg chose are tender mercies written by Townes Van Zandt, Joni Mitchell, Tom Waits, Kathleen Brennan and Peter Gabriel.. Solberg includes her own Photograph, as well as a poignant rendering of Leonard Cohen’s Hallelujah in the weighty mix. What make the collection so vulnerable isn’t only Solberg’s lovely voice but the nearness of death emboldened by the power of music.” – Margaret Moser, The Austin Chronicle, Feb. 23, 2007

“A singer-songwriter whose bittersweet tang never grows stale. This grouping of songs about loss and connection is especially touching.” – Austin American Statesman, Nov. 27, 2006

“Michele Solberg’s new Beyond the Blue is similarly dedicated to the prospect of keeping oneself cool, which gives the amount of emotional and geographical upheaval present, is quite and accomplishment. Solberg’s airy, hand-knitted vignettes contain more rootsy elements than her previous work, though it’s the kind of rootsy associated with the lonely desert highways she considers traveling down in the whispery “Muleshoe.” Elsewhere, chamber pieces like “Small Symphony” and “Beyond the Blue” bask in Solberg’s wistful purr, while “Rainy Season” has enough sultry sexuality lurking just beneath its deceptively quiet surface to make Lucinda Williams nervous.” – Christopher Gray, Austin Chronicle, August 17, 2001

“Solberg’s music has a quiet intensity that interlocks with her thoughtful lyrics, which read like a poet’s travel diary. The songs range from folk ballads to Americana-like anthems to introspective rockers good for late night drives across the more forlorn parts of Texas. This is a well-made and heartfelt offering, and her voice hangs in your memory long after the music has stopped.” Paul Klemperer, Diverse Arts, August 2001

“Michele Solberg has a sharp, distinctive voice, making good use of strange phrasings and odd turns in pitch to create an intriguing and original style that makes her instantly recognizable.” – Christopher Hess, Austin Chronicle