Maybe Tomorrow
Artist: Molly Jensen
Label: Nettwerk
Time: 13 Tracks / 48 Minutes
 
Jenson sounds confident and assured in this re-release of her 2005 debut album, which was nominated for “Best Pop Album” at the 2006 San Diego Music Awards. Largely made up of songs from a between-relationships stage of life, she approaches it more in chatting-over-coffee mode than with any navel-gazing intensity. So the quiet, rambling acoustic  “And You Were” diaries a walk under the stars and the wait for next Friday; the title track, its spaces warmed by strings, thinks about how daily life might be in the next stage of a relationship; and “Alongside You” dreams of doing great things in life with someone else sharing the experience.
 
There are reflections on poor communication. “The Edgy 8 Ball Song” is a rant at someone who talks a lot without asking about her, while “I’m Sorry for Me” apologises “for this mouth of mine / It gets away from me /I worry that you’ll find me out / and not like what you see”. 
 
Sonically, this disc covers similar ground to other thoughtful singer-songwriters with a pop sensibility. The lead-off track “Give It Time” has vocal echoes of Avril Lavigne (when she is at her best in adult mode), and I found myself thinking of Kendall Payne while listening to many tracks. Certainly producer Greg Laswell covers similar ground to Ron Aniello’s work with Payne – and that is praise. These are songs that use subtle hooks, the sort (with a couple of exceptions) that aren’t necessarily that memorable an hour afterwards, but which keep the interest while listening. The good thing about such songs is that they don’t make an initial impact only to then burn out from over-familiarity. The downside is that the disc may not quite be strong enough to stand out among its many competitors.
 
Jenson contributed to Jon Foreman’s Spring EP, and Foreman returns the favour by duetting on “Do You Only Love the Ones Who look Like You?” He sounds right at home on the piece, and it highlights just how similar Jenson’s singing and writing style is to his. Some of her material would sit very comfortably on his Seasons discs. 
 
Sometimes she overdoes that nameless gravelly thing that particularly female singers do to express emotion as they start a line, but not enough to grate. Listening to Jenson is a positive experience. Personal highlights include “Beginning Here,” which is built around a strong, lazy drum shuffle that her voice drifts over easily, and the lively, aforementioned “The Edgy 8 Ball Song.” But the disc is strong enough to have as a whole, rather than just picking off downloads.  
  
Her mantelpiece is starting to collect awards and her songs are permeating the screen (including the new Knight Rider). Given the quality of her songs and her good way with people, from promo video with Pat Boone to reaction from her live audiences, I expect to hear a lot more of her.
 
Derek Walker