Diary of an up and coming sociopath

Okay, so I’ve procured a copy of Ben Folds’ new album, and as I once did back in the day, I’m going to do a “first impressions” review. This involves me typing some thoughts that occur to me as I listen through the album, organised by track. It’s certainly not a properly considered opinion, and will almost definitely not reflect my thoughts in a few days once I’ve had a few listens to it all. It’s certainly not supposed to be a guide for anyone else to judge the album by, because it’s specifically down to my tastes and logic (or lack thereof.) In an effort to give some quantifiable judgement for anyone interested, I’m going to rate each track on the highly original scale of whether I consider it an instant “hit” or “miss.” The criteria are totally arbitrary, so don’t expect much logic.

I get sick of writing disclaimers so that I don’t receive tonnes of abuse like the last time I did a review in this style, so I’ll instead say that if you’re going to leave a comment, then at least try and comment on the review or the album, rather than threatening to break my face if you disagree.

With that thought in mind:

Ben Folds - Songs for Silverman

Bastard - It’s not the same excellent start “Annie Waits” was on the previous album. I’m not especially taken in by the subject matter or the style. It sounds not unlike the theme tune to a 60s sitcom or something, actually. Feels like a weak start. MISS.

You to Thank - This one’s a bit better. The instrumental stuff is quite nice, but I’m not really getting into the vocals and lyrics much. For some reason, I think it’s a little too simplistic in places. MISS.

Jesusland - That beginning confused me a bit, until I realised what track it was. I’m expecting big things of this, because it seems to imply some political sentiment. Sounds a bit mundane at the moment, though. Hmm. I’m still not getting the same vibes of excellence that Rockin’ the Suburbs gave me in this album. This track is picking up towards the end, but it’s still not so great. Political slant I expected not present in any explicit sense. MISS.

Landed - I’ve heard Landed before, since it’s the single. It’s a really good track. Stylistically, it’s sticking out a bit from the other three tracks. It’d be a bit cynical to think that this was probably written as an intended single, but it’s certainly a little less subdued than the others, and is such is a natural contender. Natural, that is, if any other tracks are remotely in the same vein. HIT.

Gracie - Ah, like this. Things are picking up with the last couple of tracks. Haven’t got much to say about it, but it’s surprisingly short. HIT.

Trusted - Okay, this sounds more like the kind of track I was hoping for. Well, maybe not. It’s certainly more in the right direction for me at least. The lyrics on this album seem like they’ve really been mashed in over the melody in places. The hook line on this song is a good example of this. Ah, really picks up at the three minute mark. Definitely strong start and end, dodgy middle. HIT.

Give Judy my Notice - This is a re-record of a track off the EPs he released over the last year or two. I think I prefer the new version, because it’s a bit fuller. The original was quite a slow soulful song and it benefits from being picked up a little. HIT. Even before I’ve reached the end. Choral parts are maybe a little dubious in places, but that’s a small flaw in an otherwise good version.

Late - I’m quite liking this so far. Listening to the lyrics, I think this might be written for Elliot Smith. I think I remember there was going to be one on this record. I am enjoying this, especially with the contextual meanings. It’s erring on the right side of tasteful, without getting too “Candle in the Wind”. HIT.

Sentimental Guy - The start reminds me of “All You Can Eat,” which isn’t necessarily a good thing. I’m not a fan of the faux-lounge style of that song. It’s not really repeated on this track, thank god, but the shades of it are all over this. There’s some dodgy falsetto about halfway through, which has always been my least favourite of Ben Folds’ many modes. I think, at two thirds in, the verdict will have to stand. MISS.

Time - A nice opening, but if it doesn’t do something in a minute it’s going to get a bit too samey. It’s feeling like a buildup, but there’s no payoff forthcoming. Hmm. Ah, here, we go. Took two minutes, but it’s worth it. The first half of the song is almost justified by the second half. HIT. Just.

Prison Food - Sounds like a good track to finish on so far. I like the instrumental stuff a minute in. It’s reminding me a bit of thirteen senses, who I am also listening to a lot at the moment. That’s a favourable comparison. Hmm. Some weird chorus vocals at the halfway point. Some good drumming stuff after that, though. This track’s structurally all over the place, which I like. The ending of the track is a little weaker than I’d expect for an album closer, but taken on its own it works. HIT.

Final Impression: 4 Misses, 7 Hits. Definitely a good album, but I’m not so sure it’s as good as Rockin’ the Suburbs, which utterly opened my eyes the first time I listened to it and transformed me from a casual fan into a true believer. I expected a little more, really, but the rate of songs I like to those I don’t is about equal to the average on the EPs, so it’s not unexpectedly bad or anything, I just hoped for more. The EPs were quick releases, I wondered if the album would be meatier in sound and subject, but it doesn’t seem to be by much. I’ll be interested to see how much of this holds up live. I’m not as impressed by the writing on this album, it feels lethargic, both lyrically and musically. Landed is really the only track on there I expect I’ll still be listening to in a few years, but even that’s only comparable to some of the weaker moments on RTS. As before, maybe i’ll come back to it in a week or two and see how my opinion has changed.