Ben Folds’ newest album Way to Normal — released Sep. 30 — is the latest in Fold’s collection of music with complex lyrics driven by his signature piano lines. As with Folds’ previous albums, Way to Normal contains a variety of songs from pulsing, repetitive, audience-callback songs, such as “Hiroshima (B B B Benny Just Hit His Head),” to slower, more introspective songs like “Cologne.”
Unfortunately, the wide range of music lends itself to a lack of cohesion, and not all of the songs live up to the lyrical genius of which we all know Folds is capable. Despite its fast-paced, throbbing beat, the ninth song, “Bitch Went Nuts,” doesn’t seems like an excuse to use prolific profanity. Of course, it is a sentiment that usually derives from a situation in which prolific profanity is unavoidable, so perhaps the greater lyrical depth isn’t necessary. Though the song may not live up to the standards of depth and creativity of some of Folds’ other albums, its simplistic message accompanied by a basic pulsing rock beat may be just what one needs when this song comes up.
Not to worry, though — Folds comes back with a vengeance in “Cologne,” as his story-telling prowess emerges to combine with a light, simple piano background and a strong, lyrical story about the power of leaving someone, of letting someone go. It is just the kind of song for which Folds is known, but it is a new story in its own right, not just a repeat of past successes. Similar in its demonstration of Folds’ musicality, “Effington” is also an example of powerful story-telling, but with its more complex, high-powered beat and off-tone choral beginning, it’s a completely different story, lyrics aside. The lyrics, which provide the title for the album, are straightforward and clipped, but they correspond to the music in a way that adds to them, so you almost don’t realize the immature play on the word “Effington.” Even this works with the song, however, and its concept of the mundane. What could have been merely an odd and clipped-sounding song actually comes together in a strange cohesive look at the normal, evidenced in the juxtaposition of “If there’s a god / he’s laughing at us / and our football team,” and “are they f’ing in their yards” in the beginning of the song.
Songs such as “Cologne” show off Folds’ personal triumphs in song writing, but “You Don’t Know Me” is an exemplary collaborative effort with the unique indie singer Regina Spektor. Those who have listened to Spektor and know her style can hear it distinctly — not only in the lyrics, but in the rhythmic, circular flowing music, reminiscent of Spektor’s own radio hit “Fidelity.” Spektor also features the piano as the focus of the instrumental aspect of her music, so with both her alternative sound and his straightforward story-telling, “You Don’t Know Me” is one of the best songs on the album.
All in all, Way to Normal is a good album. Though it doesn’t have the cohesiveness long-time fans might be looking for, and though Folds uses his story-telling skills in seemingly meaningless ways — such as describing how he fell off the stage in Japan in “Hiroshima” — the Ben Folds we all know and love comes out in the occasionally off-color lyrics, the powerful stories and the often orchestral background through the album. Not every album can be a “Brick.”
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