Unless you've been living under a rock for the last year or two, you already got the memo that ultra sincere singer/songwriters are in again. In 2004, critics got hot and bothered about freak folk and flocked to Sam Bean's understated acoustic confessionals (that Oberst kid may have recorded a couple of tracks as well). Ben Johnson shares Iron and Wine's affinity for heartache melody and emotional honesty, but his presentation bears little resemblance to this latest crop of new Dylans. The most noticeable distinction is that all of the tracks on Wait are piano-based, and there's little here with anything close to predictable structure. These are ambitious, theatrical, labyrinthine songs, straining the confines of the pop format into which they've been forced.

The glaring blemish here is the production. None of the backing instruments seem to be able to match the piano in fidelity or whimsy, and Johnson's voice, while incredibly strong, could use a dash of reverb to help it lie in the mix.

If Johnson can find the right producer and band to complement his wonderfully grandiose songwriting, lightning may strike yet.