also does anyone else feel like Draw a Crow is to TSOTLOTM what Saskia Hamilton was to LA?
i absolutely agree. it's the later on track in the album that kind of catches you by surprise.
Hey everyone, been a while. I'll chime in a bit on the record.
Now, track by track:
Erase Me- a bit too dissonent, quirky, all that. I forget what the exact term is, but it sounds like he's modulating keys too much in a way that just makes the song too much of a stretch to be pretty by any means. Always skipping this one now.
I don't think it's supposed to be pretty by any means, but can see how the modulations during the latter-part of the bridge could be off-putting.
sometimes it works. I know alot of tracks that have it work, but that one just can't do it for me.
I try not to be hard on ben's newer records-- as someone else mentioned in this thread, I got into ben and the five at a huge musical developmental age for myself that can't be washed off or worn off, even if I came to hate ben. I have gotten over other bands from the time period who came after, but this music is what set off the spark, and the reason I still write on this forum some 7 or 8 years later. I wouldn't expect this album to be as good as whatever and ever, and all that. i was hoping it would have more variation, and maybe a bit more experience. I was hoping it would sound like whatever happened to that ben folds we all knew from 1995 as an older experienced guy; I think perhaps because there are less personal references. I think ben plays a different piano style after going solo, and it can't be done; everything seemed to get more impersonal and more "composer-esque" in the solo days (as in, seemed like he was making up stories in a book rather than talking about real people), and now the old sound can't be retrieved. and that's fine-- i'll keep listening, perhaps the next record will "get it right" for me moreso... after all, Lonely Ave seemed like leaps and bounds over WtN.
when I go back and listen to the self titled, I can't help but notice how starkly different the playing is from now. there are moments where there is pure piano bliss, and then there's certainly interesting chord mashing-- look at jackson cannery. there are licks in there, but the verses are all these odd chord progressions, and it's fantastic. it was like nothign i ever heard before--- putting a fun spin on piano. of course, there are all sorts of reaches on this record though-- the beautiful elton john style intro to philosophy. the dark piano mashing of the last polka. the sincerity of best imitation. whatever and ever amen topped this by toning down the wild behavior, and replacing it with perfect pop craft. no track on that record slumps, it reaches in all directions-- one angry dwarf and fair have fantastic energy, there is so much smoothness in the harmonies on battle fo who could care less, and yet those odd chord changes remain. tuborm took things a step further, doing away with some of that raw chord mashing and making it more about using the piano like all the classical ways we had heard it before-- lullabye like an old 70s jam, narcolepsy borders on classical piano at points, as does mess. these records are all so damn diverse; the latter two work especailly well as concept records. there's this general feeling in all of them. so again, if i'm losing you at this point and you don't agree, perhaps this is just the time i found the music, but...
i also started listening to ben folds solo at the time, and the only releases were RTS, live, and the EPs. and they were all pretty good, but we see an emergence of more impersonal tracks, at least as how i see them, and there are less chord stretches. and i don't mean chord strecthes like "erase me", because that's a different sort. and again, that's all fine, but it might just be that that original BFF sound is gone and can't be retrieved because we did 10 years of solo ben.
so... i don't know if any of that will make sense to you guys. my only credentials are that i'm an avid listener and i have studied ben's music and learned to play imitating him. i've looked at chord readings and all that, so the chord comments aren't bullshit. tell me what you think?
and don't tell me that i'm asking for him to recreate something old-- the jumps between those three records all make sense, and are natural. they borrow from the old and add new. unfortunately we've just left that entire arena with the sound of the life of the mind. it has a few good "solo" sounding ben tracks, but I don't hear much of the five in it now.