Ben Folds,
Ben Folds’ work since his Five broke up has been anything but predictable. After Rockin’ The Suburbs, he’s refused to release anything but EPs, baited Fred Durst, covered The Darkness, and produced William Shatner’s spoken word album. Looking at this, it might seem a surprise that he’s just released his most accessible album since 1997’s Whatever And Ever Amen. On a further listen, though, Songs For Silverman is a natural progression from all these things.
In terms of production, this is Folds’ most sophisticated album yet. While Five releases consisted exclusively of piano, bass, drums, and voice, and Rockin’ The Suburbs occasionally introduced a guitar into that mix, Folds describes Songs For Silverman as having “horns and shit”. In fact, horns are used refreshingly sparingly, but most songs have a string section somewhere – even dominating in Trusted. This really affects the mood of the album – it’s Folds’ most serious work yet.
Nonetheless, it’s clear he is primarily a pianist, and the solos in songs like Landed are as impressive as anything else he’s done. It’s just a disappointment that Give Judy My Notice has been watered down since Speed Graphic: while it was once haunting and slightly tragic, it’s now just a bit boring – little more than a filler. In spite of all this, the most important thing is the that Ben Folds has retained his ability to write a good pop song.
Opening track Bastard defies its angry lyrics to produce a song that’s fun at its core. Late, much slower, is much more climactic – with a huge chorus – and You To Thank is reminiscent of Ben Folds Five with its bassline and piano solo. Yet it’s Jesusland that is the standout track: all the different instruments on the album come together perfectly – combined with sophisticated harmonies in the chorus – without ever seeming cheesy.
For any fan of serious pop, this has to be one of the best albums of theyear so far.
21st Apr 2005