Artist: Ben Folds
Album: Saving Silverman
Label: Epic Records
Rating:
Reviewer: Sarah Moskowitz

Ben Folds is making me yawn. And it makes me sad, considering that his music was what I used to listen to when I wanted a boost. With each passing album, it seems that Folds becomes less energetic, and in turn I become more comatose. This is really not what I’m looking for in an artist who has proved that he’s capable of so much more. He’s still working the three-piece band: Folds on piano, with backup drum set and bass. He’s still writing songs about people he knows and their personal situations, of which we are strangers to. And yes, he’s still wearing those boxy glasses. So what’s changed? Has time withered away his edge? Was he really a jellyfish this whole time, and formerly supplied a backbone by the other members of Ben Folds Five? Was it his becoming a father that calmed him down? Whatever it is, it’s got me skipping through his new album Saving Silverman.

I kept waiting to be shaken out of my seat by grumbling bass or spewed profanities, or to imagine Folds standing on his stool and pounding on the keys – but it never happened. Instead I got the feeling that I could’ve paid a cover at a piano or jazz bar for the same kind of sound. Or worse, that I’d hear the likes of Saving Silverman as background music at a cozy restaurant. Of course it’s not all bad. Folds takes pride in making music, and it’s portrayed in this album. He hired a 30-piece string ensemble to give structure to the record’s first single “Landed,” although the orchestra did not make the final cut. Folds even dedicates an entire song to 5-year old daughter Gracie, balancing out her twin brother Louis’ song “Still Fighting It” from Folds’ formal solo debut ,Rockin’ The Suburbs. This time around, Folds doesn’t lack heart or effort, but it’s just not my cup of boring tea. What’s more interesting than the songs, are the influences had on this album. Besides personal inspiration from family, friends, and peers, Folds even turns to celebrities for collaboration. Movie, television, and infamous singing legend William Shatner has joined forces with Folds in the past, and makes a cameo commenting on Saving Silverman, and “Weird” Al Yankovic takes a stab at backing up the track “Time,” producing a sound comparable to Pink Floyd.

However, guest stars aren’t everything, and for every time I listened to this record and tried to find something that would have the effect Ben Folds used to wash over me with, there was nothing. I just couldn’t wait for it to be over. Saving Silverman also features a DVD double-sided with the CD, as per the current visual/audio combo trend. Watching Folds’ gawky demeanor take command of the production room as well as a live audience for a half hour is perhaps more engaging than the album in its entirety.

Now, I’m sure that Folds’ cult following would disagree. You know the type: knows the origin of each personalized song, is right on cue to participate in the private joke moments of the songs that only a hardcore Ben Folds fan could recognize, waits with shining eyes at concerts for Folds to conduct them in harmonizing background vocals. From that kind of perspective, this album is no letdown. If you absolutely adore Ben Folds and everything he produces, then you’ll be fine. If you like to be soothed and sedated, then there’s no problem. But if what you were looking for was another dose of Fold’s “fuck you too” attitude from “Song For the Dumped” off his previous band’s Whatever And Ever, Amen, or an energetic pick-me up like “Gone” from Rockin’ the Suburbs, or anything to get a rise from, then Saving Silverman is not the place to search. Forget about saving Silverman, Ben Folds first needs to try and save himself.