On Please Be Mine, Molly Burch showcases her prowess as a frontwoman with simply crafted songs that rely heavily on her charismatic delivery and expressive inflections for success. There’s sort of an element that Burch never sings the same thing twice on the album. When a song has two repetitions of the chorus, Burch finds a way to make each one more convincing. Each song follows a loose, love-song classification, but Burch and her band make each moment shine with their ear for riveting detail. From the occasional moody modal jazz chord, to the distant sonic sparks and the impressive, yet coy guitar solos, Please Be Mine lifts folk tunes to soaring heights.
The album is certainly a bit monochromatic in terms of lyrics. Downhearted paints a picture of a person who hasn’t quite come around: “I could be your dream girl/your whole world/if you let me,” then Wrong For You talks about loving the wrong person “you said I was the only one, but I know you say that to all the girls.” Some other highlights include Loneliest Heart’s gloomy take on the changes we go through in our time alone and Not Today’s sorrowful, nostalgic glance at past relationship’s demise. Overall, Burch isn’t really breaking any rules with these subject matters, but the sonic material makes things meaningful and she also sticks in some particularly biting lines on occasion: “you say my name it feels like fire.”
Burch’s singing shines on every track. Again, it’s not necessarily that she uses any flashy material, but she adds so much expression into the mix with dynamics and rhythmic deviations. On Try—for instance—Burch merely breathes the vocal melodies for much of the track, but then she barks out “I’m your little baby, your little baby PET” to contrast the slow, sweeping instrumental backdrop—it calls attention to itself immediately and shows that Burch has really got the audience by the throat.
Fool, on the other hand, is a prime example of Burch digging in deeper with each repetition of the chorus. Burch first has this addicting pre-chorus with this big interval jump on “ha-RD,” then the chorus is a bit more anthemic. First time around, Burch doesn’t too much other than sing out the melody, but during the second verse she plays around with the rhythm much more and just before the chorus she barks out another jolting line “you were not ni-ah-ICE” to kick off her belting reinterpretation of the refrain.
This track is also a good example of the other little sonic details that help along Burch’s expressive gestures. The chorus has this cool call-and-response with the splashing backing vocals on ahh. Also, the distant guitar solo compounds the sense of detachment.
The record’s treatment of piano is also particularly stellar throughout. For Fool, it plays these pressing chords that are only fully realized at the climaxes of the tune. With Loneliest Heart, there’s these tiny staccato plucks deep in the mix that add a lot of movement to the lethargic tempo.
Burch still needs to develop a little bit as a songwriter. On later projects, it would be nice to hear other introspective topics or perhaps some sort of storyline, but Please Be Mine is a worthy collection of songs that show just how much of a presence Burch must have in the studio.