Ben Folds Releases New Third Album

At forty-two and with a career spanning back to Ben Folds Five in the early nineties, it seems that the sarcastic singer/songwriter/pianist/percussionist Ben Folds is undergoing something resembling a midlife crisis. On Way to Normal, his newest release and third solo LP, Folds reverts to sophomoric humor and obvious, socially-aware songs which attack everyone from jaded lovers to small-town residents to people who give him free coffee.

The songs on this album are largely predictable drivel, shakily supported by Folds' talent at piano and singing. Every so often there are moments of brilliance, specifically in the Ben Folds/Regina Spektor collaboration “You Don't Know Me”, but these are due to Folds' lyrical prowess rather than him singing about anything meaningful.

Way to Normal Nostalgic for Ben Folds Five

The most obvious thing about Ben Folds' new album is its throwback to his less-serious heyday. Way to Normal is full of quick-witted social commentary, but this makes a lot of the album unnecessary. It reminds one that Folds is going through the same motions after almost fifteen years. While a large amount of his solo work (most specifically his 2001 solo debut Rockin' the Suburbs) is also dedicated to poking fun at almost everything, Folds also writes touching piano ballads (see Ben Folds Five's “Brick”).

These still exist on Way to Normal, such as “Kylie From Connecticut” and “Cologne”, but they are too straightforward to be very interesting—one is about a mistress and the other on distance. These songs make it seem like folds is grasping in vain for suitable new material.

It is also far too easy to be overloaded with sarcasm on tracks like “Brainwascht”— a pop song making fun of someone who attacked Folds via a pop song—which includes lyrics such as “I gotta say it's pretty gay trading jabs in pop songs/Maybe next time, we should just have a dance off.”

Ben Folds, 42, Still a Sarcastic Piano-Pounder

The tone Folds uses throughout the album is static, pretentious sarcasm which only fluctuates from criticism of obvious targets (ex-girlfriends, 'fakers', and hipsters) to incessant ego-stroking. While the album could have been more endearing if Folds was willing to find eye-opening observations or speak more intelligently, it is only kept afloat by classically-inspired piano and catchy melodies

Although Ben Folds plays a mean piano and writes melodies that most pop singers would sell their contracts for, he fails to show the wisdom one would normally gain for a fifteen-year career. The content of Way to Normal is mostly juvenile and tasteless (for proof of this, listen to “Bitch Went Nuts”), and it seems to be a step down for Folds' material in addition to a throwback.

It could be that Folds is having a midlife crisis like Weezer seems to be, but he still chooses to lash out at the world rather than reminisce about his youth. Regardless of its intent, Way to Normal is somewhat disappointing for an artist with so many years under his belt.

4.25/10—The only upsides on Way to Normal are the melodies Folds sings and the piano he plays, neither of which are anything new. His lyrical content is banal and immature, and when a few good lines pop up, you will probably wish they were on an album you are more inclined to listen to.

For more on Ben Folds, you can visit his website.